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Book-  i   . 

%DgM°_  

COPHttGffiT  DEPOSIT. 


Scanned  from  the  collections  of 
The  Library  of  Congress 


Packard  Campus 
for  Audio  Visual  Conservation 
www.loc.gov/avconservation 

Motion  Picture  and  Television  Reading  Room 

www.loc.gov/rr/mopic 


Recorded  Sound  Reference  Center 
www.loc.gov/rr/record 


wonderful  reduction^!! 


■  ■  ■ 


One  Thousand  Copies  oi 
This  Fascinating  Novel 
to  be  Given  Away 

FREE 

Mail  This  Coupon 
Today 


Screenland  Publishing. Co., 
Dept.  2 

Hollywood,  California 

In  accordance  with  your  special  offer  I  enclose  here- 
with $2.50  for  which  please  enter  my  subscription  to 
Screenland  for  one  full  year  and  mail  me  absolutely  free 
and  charges  prepaid  one  copy  of  Elinor  Glyn's  "Beyond 
The  Rocks." 


NAME 
ADDRESS 

CITY  

STATE... . 


•  .  "Henceforth  it  is  the  gray  path  of  shadows  and  we  could 
have  been  happy  together  and  glorified  the  world." 


'T-T  E  told  her  of  his  infinite  love  for 
her;  of  the  happiness  he  would 
fill  her  life  with;  of  his  plan  that  they 
should  go  away  together  when  she 
should  leave  Beechleigh;  of  the  joy  ot 
their  days;  of  the  tender  care  he  would 
take  of  her;  and  every  and  each  sen- 
tence ended  with  a  passionate  avowal 
of  his  love  and  devotion.  B3r 

HP  HEN  a  terrible  temptation  seized  Theodora.    She  had 
never  even  dreamed  of  this  ending  to  the  situation;  and  it 
would  mean  no  second  honeymoon  of  loathsome  hours,  but  a 
glorious  fulfilment  of  all  possible  joy. 

Tj*  OR  one  moment  the  whole  world  seemed  golden  with 
happiness." 

BUT  we  mustn't  tell  you  any  more  of  the  story.   That  would 
be  to  rob  you  of  the  poignant  pleasure  you  will  experience 
when  this  enthralling  story  is  yours. 

WE  have  a  copy  of  this  book  for  you.  By  special  arrange- 
ment with  Madame  Glyn's  American  publishers,  Screen- 
land  has  secured  for  its  subscribers  a  limited  number  of  Beyond, 
the  Rocks.  This  new  edition,  just  off  the  press,  is  illustrated 
from  the  photo-play  of  the  same  name,  featuring  Rodolph 
Valentino  and  Gloria  Swanson! 

THE  book  is  yours,  for  the  asking.  Just  fill  out  and  mail  the 
attached  coupon,  with  $2.50  for  a  year's  subscription  to 
Screenland.  You  will  then  receive  for  a  whole  year  the  most 
authoritative  and  up-to-the-minute  news  of  the  studios, 
straight  from  Hollywood.  And  without  a  penny's  extra  cost, 
a  copy  of  Elinor  Glyn's  masterpiece,  Beyond  the  Rocks. 

SCREENLAND   PUBLISHING  CO. 

HOLLYWOOD,  CALIF. 


1 


Ho%wooA  SCREENLAND  CriiOni* 


Why  Some  Yeoph  Are  Never 
At  Ease  Among  Strangers 


PEOPLE  of  culture  can  be  recognized  at 
once.  They  are  calm,  well-poised.  They 
have  a  certain  dignity  about  them,  a  cer- 
tain calm  assurance  which  makes  people  re- 
spect them.  It  is  because  they  know  exactly 
what  to  do  and  say  on  every  occasion  that 
they  are  able  to  mingle  with  the  most  highly 
cultivated  people  and  yet  be  entirely  at  ease. 

But  there  are  some  people  who  are  never  at 
ease  among  strangers.  Because  they  do  not 
know  the  right  thing  to  do  at  the  right  time, 
they  are  awkward,  self-conscious.  They  are 
afraid  to  accept  invitations  because  they  do 
not  know  what  to  wear,  how  to  acknowledge 
introductions,  how  to  make  people  like  them. 
They  are  timid  in  the  presence  of  celebrated 
people  because  they  do  not  know  when  to  rise 
and  when  to  remain  seated,  when  to  speak  and 
when  to  remain  silent,  when  to  offer  one's 
chair  and  when  not  to.  They  are  always 
uncomfortable  and  embarrassed  when  they 
are  in  the  company  of  cultured  men  and 
women. 

It  is  only  by  knowing  definitely,  without 
the  slightest  doubt,  what  ta  do,  say,  write  and 
wear  on  ali  occasions  under  all  conditions, 
that  one  is  able  to  be  dignified,  charming  and 
well-poised  at  all  times. 

How  Etiquette  Gives  Charm 
and  Poise 

Etiquette  means  good  manners.  It  means 
knowing  what  to  do  at  the  right  time,  what 
to  say  at  the  right  time.  It  consists  of  cer- 
tain important  little  laws  of  good  conduct 
that  have  been  adopted  by  the  best  circles  in 
Europe  and  America  and  which  serve  as  a 
barrier  to  keep  the  uncultured  and  ill-bred 
out  of  the  circles  where  they  would  be  un- 
comfortable and  embarrased. 

People  with  good  manners,  therefore,  are 
people  whose  poise  and  dignity  impress  you 
immediately  with  a  certain  awe,  a  certain 
respect.  Etiquette  makes  them  graceful,  con- 
fident. It  enables  them  to  mingle  with  the 
most  cultured  people  and  be  perfectly  at  ease. 
It  takes  away  their  self-consciousness,  their 
timidity.  By  knowing  what 
is  expected  of  them,  what  is 
the  correct  thing  to  do  and 
say  they  become  calm,  dig- 
nified and  well-poised— and 
they  "re  welcomed  and  ad- 
mi'         £he  highest  circles 

of     i'^^W*  society. 
°  v*   


Do  You  Know 

How  to  introduce  men  and 

women  correctly? 
How  to  word  invitations, 
announcements,  acknowl- 
edgments? 
How  to  register   '  a  hot*-* 

HOW  tn  *»V<~  .;  Of 

ho' 


There  are  other  problems,  too 
— many  of  them.  Should  the 
man  rise  when  he  accepts  a  cup 
of  tea  from  the  hostess?  Should 
he  thank  her?  Who  should  be 
served  first?  What  should  the 
guest  do  with  the  cup  when  he 
or  she  has  finished  with  the  tea? 
Is  it  good  form  to  accept  a  sec- 
ond cup?  What  is  the  secret  of 
creating  conversation  and  mak- 
ing people  find  you  pleasant  and 
agreeable  ? 

It  is  so  easy  to  commit  em- 
barrasing  blunders,  so  easy  to 
do  what  is  wrong.  But  etiquette 
tells  us  just  what  is  expected  of 
us  and  guards  us  from  all  hu- 
miliation and  discomfort. 

Etiquette  in  Public 

Here  are  some  questions  which 
will  help  you  find  out  just  how 
much  you  know  about  the  eti- 
quette that  must  be  observed 
among  strangers.  See  how  many 
of  them  you  can  answer. 

When  a  man  and  woman  en- 
ter the  theatre  together,  who  walks  first  down 
the  aisle?  When  the  usher  points  out  the 
seats,  does  the  man  enter  first  or  the  woman? 
May  a  man  leave  a  woman  alone  during  in- 
termission ? 

There  is  nothing  that  so  quickly  reveals 
one's  true  station  and  breeding  than  awk- 
ward, poor  manners  at  the  table.  Should 
the  knife  be  held  in  the  left  hand  or  the 
right  ?  Should,  olives  be  eaten  with  the  fin- 
ger or  with  a  fork?  How  is  lettuce  eaten? 
What  is  the  correct  and  cultured  way  to  eat 
corn  on  the  cob?  Are  the  finger-tips  of  both 
hands  placed  into  the  finger-bowl  at  once, 
or  just  one  at  a  time? 

When  a  man  walks  in  the  street  with  two 
women  does  he  walk  between  them  or  next 
to  the  curb?    Who  enters  the  sti         -  first, 
the  man  or  the  woman?  Whe 
tip  his  hat" 
casions  ir 
form 


Man;  embarrassing  blunders  can  be  made  In  a  pubEc  restai 
Should  the  young  lady  In  the  picture  pick  tip  tfte  fork  or 
it  for  the  waiter  to  attend  to  ?    Or  should  one  of  the  men  pick  i 


weddings,  parties  and  ail  social  e. 
ments.    There  are  interesting  chd\ 
correspondence,  invitations,  calls  and 
cards.    New  chapters  on  the  etiquet 
eign  countries  have  been  added,  and 
many  helpful  hints  to  the  man  a 
who  travels. 

With  the  Book  of  Etiquette  to 
there  can  be  no  mistakes,  no  embar. 
One  knows  exactly  what  is  correct  an 
is  incorrect.    And  by  knowing  so  dt 
that  one  is  perfect  in  the  art  of  etiqu 
confident  poise  is  developed  which  r 
one  to  appear  in  the  most  elaborate  dr: 
room,  among  the  most  brilliant  and 
cultured  people,  without  feeling  the  le, 
ill  at  ease. 

Send  No  Money 

To  enable  everyone,  everywhere,  to  examine  the 
*  Etiquette,   without  obligation,   we  ma 
send  the  complete  two-volume  a 
•>vone  request'iit  it.    Entirely  fi 

•II    "   -*rv  is  you 

.  .1- 


wo- 


a^wooi  SCREENLAND  C*nfi«i» 


n  1  

rould  You  Like  to  Be  a  Borrowed  Bride? 

TEIGH  GORDON  GILTNER,  in  "  The 
■L*  Shock  Absorber,"  has  written  a  story  of 
a  young  husband  who  needed  a  wife  to  convince 
his  mother  and  father  that  he  was  a  dignified 
married  man.  His  real  bride  was  elsewhere,  get- 
ting a  divorce.  Complicated  situation,  is  it  not? 


hch  Funnier  than  "Pigs  Is  Pigs" 

OLLIS  PARKER  BUTLER  has  written  a 
*^  story  entitled  "Use  Common  Sense/' 
which  is  more  laughable  than  the  guinea  pig  story 
upon  which  Mr.  Butler's  reputation  as  a  humorist 
tests.  That  his  latest  is  his  best  is  hard  to  be- 
lieve, is  it  not? 


•ran 
lear 
top 


nt< 


to  You  Want  Rough  Stuff?   Here  It  Is! 

TIHLLIAM  SLAVENS  McNUTT  has  done 
"  ▼  his  best  novel  in  "The  Land  of  Turmoil." 
It  combines  humor,  conflict,  and  dramatic  love 
from  start  to  finish.  Good?  Oh,  very  good! 
And  what  is  more,  most  of  the  real  action  takes 
place  right  in  New  York  among  the  underworld 
denizens. 


Also  Eleven  Short  Stories  by 

Elisabeth  Sanxay  Holding      John  D.  Swain 
George  Allan  England 
Mella  Russell  McCallum 
Elmer  Brown  Mason 
Louise  Kennedy  Mabie 


Robert  T.  Shannon 
H.  Bedford- Jones 
William  Merriam  Rouse 
<e  Burton  Blades 


BUR- 

sr  and 


T 


omorrov 


.WITH  APOLOGIES  TO  NO  ONE. 
(Copyright,  1922) 

DELEASING  a  motion  picture  film  is 
^launching  a  ship;  except  that  the  s, 
builder  is  usually  sure  that  his  craft  v 
float;  while  no  producer  is  ever  sure  that  hi 
picture  will  be  a  success. 

The  success  of  a  picture  is  determined,  of 
course,  by  the  amount  of  money  that  it  makes 
—not  by  its  artistic  merit  or  the  judgment  of 
discriminating  critics.  And  the  unhappy  fact 
exists  in  Hollywood  that  good  pictures  make 
poor  or  no  money  just  as  often  as  poor  pic- 
tures make  good  money.  For  those  who  carp 
at  the  obvious  faults  and  shortcomings  of  the 
screen,  let  us  discuss  a  chart  of  picture  earn- 
ings—a  chart  maintained  by  one  of  the  big- 
gest producing  and  distributing  organizations. 

0NE  of  greatest  directors  in  America 
^  was  engaged,  several  months  ago,  to 
screen  one  of  the  most  beautiful  sentimental 
dramas.  An  eminent  star  was  cast  in  the 
leading  role.  No  limits  were  placed  on  the 
scenic  investiture  and  technical  detail.  The 
result  was  a  photoplay  of  surpassing  beauty. 
It  was  heralded  as  one  of  the  greatest  motion 
pictures— by  the  critics.  But  the  crowds  who 
register  their  sentiments  at  the  box  office  were 
not  so  enthused.  They  turned  the  play  down 
cold.  Now,  the  accounting  department  will 
tell  you  that  it  is  a  "flop." 

AT  the  same  time  that  this  master  picture 
was  made,  another  cheap,  boisterous, 
bana  story  was  rotted  onto  a  defenseless  strip 
of  celluloid  and  many  prints  of  the  same  were 
distributed  among  first-class  theatres.  This 
monstrosity  drew  happy  families  from  their 
firesides  throughout  the  United  States  and  it 
is  still  going  big.  It  has  made  money.  It  is 
a  knockout"  they  will  tell  you  at  the  ac- 
counting department. 

'X'HERE  are  loud-mouthed,  mallet-headed 

•   u^15*8  who  ydl  that  the  Motion  Picture 
is  bad  because  the  producers  are  so  ignorant 
sensual,  mercenary,  weak-minded  and  short- 
sighted.   But  these  producers   (these  same 
panderers  to  the  low  public  taste!)  would  be 
grinding  out  art,  philosophy,  drama  and  in- 
tellectuality by  the  reel,  tomorrow,    if  that 
tricky  fellow,  Mr.  Public,  would  slide  his  dol- 
lars across  the  plate  glass  counter  of  the  box 
office  for  it    The    really    surprising  thing 
about  it  all  is  that  the  picturemakers  have 
made  any  films  of  artistic  worth.  Griffith 
leader  of  them  all,  has  squandered  thousands 
in  altruistic  efforts  to  entertain  his  own  cul- 
tured ego  and  praygoers  at  the  same  time. 
.  ne  lev«'  °f  public  taste  has  been  oversho 
lust  as  often  as  it  has  been  underestim3»'  *  * 

'WF\  story  stru<t!>j™"  f  * 


Hollywood.  SCREENLAND  Ciil^u 


Loses  74  Pounds 

feels  and  Looks  Like  a  New  Woman 


Amazmo  Discovery  Enables  Mrs.  Denneny  to  Lose  1 
Pounds  the  Very  First  Week.   She  Has  Lost  74  Pounds 
Already  and  Is  Still  Reducing.    No  Drugs,  Starviha 
Exercise,  Rolling,  Painful  Self-Denials  or  Discomforts' 


1 


"WEIGHED  240  pounds.  I  had  tried 
all  kinds  of  anti-fat  cures  without  suc- 
cess. Then  one  Sunday  I  saw  your 
advertisement  It  sounded  so  good  that  I 
■sent  for  the  "books. 

"The  very  first  week  I  lost  10  pounds  and 
kept  reducing  steadily.  I  lost  74  pounds 
and  am  still  reducing.  My  friends  say  that 
I  already  look  19  years  younger. 

"Formerly  I  could  not  walk  upstairs  with- 
out feeling  faint.  But  now  I  can  RUN 
upstairs.  Formerly  I  felt  as  if  I  were  suf- 
focating if  I  walked  fast  for  2  blocks.  But 
now  I  can  walk  a  mile  just  as  fast  as  I  can 
go  and  without  the  least  sign  of  suffocation. 

I  never  felt  better  in  my  life.  There  is 
not  a  sign  of  my  former  indigestion  now. 
I  sleep  like  a  rock.  And  I  have  a  fine  com- 
plexion now,  whereas  before,  I  was  always 
bothered  with  pimples. 

"I  have  reduced  my  bust  iy2  inches,  my 
waist  9  inches  and  my  hips  11  inches.  I  even 
•wear  smaller  shoes  now.  They  were  'sixes,' 
now  they  are  'fives.' »  Mrs.  Mary  Denneny, 
■82  West  plh  Street,  Bayonne,  N.  J. 

Mrs.  Deimeny's  experience  is  but  one  of 
many  similar  ones.  Within  the  last  few 
months  over  300,000  men  and  women  have 
been  shown  how  to  reduce  to  normal  weight 
and  secure  the  slender,  supple  figures  of  youth 
by  this  pleasant  method. 

The  rate  at  which  you  lcse  your  surplus 
flesh  is  absolutely  under  your  own  control. 
If  do  not  wish  to  lose  flesh  as  rapidly 
as  a  pound  a  day  or  ten  pounds  a  week,  you 
can  regulate  this  natural  law  so  that  your 
loss  of  flesh  will  be  more  gradual. 

Secure  New  Vigor  Also 

This  natural  method  also  builds  your  health 
and  gives  you  renewed  vitality  and  energy. 


How  Would  You 
Like  to  Reduce  to 
Your  Ideal  Figure? 

Loses  22  Pounds  in  14  Days 

"Ijreiu-Ced  f™m  175  pounds  to  153 
pounds  (his  normal  weight)  in  two  weeks. 
?,ei°r?  1  s'arted  J  was  flabby  and  sick; 
had  stomach  trouble  all  the  tune.  I  feei 
wonderful  now." 

Ben  Naddle, 
sos  Fulton  St.,  New  York  City. 

Loses  13  Pounds  in  8  Days 

l*HH™ra%1     r7e,  '?st    13    Pounds  since 
1  feel  better  *a«  I 

420  B, 

Loses  28  Pounds  in  30  Days 

j,,"1  ,£ou,nd  yTou,r  meth°d  delightful.  In 
just  30  days  I  lost  28  pounds  (8  pounds 
My  general  health  h 


Mrs.  Geo.  Guiterman, 
66th  St.,  New  York  City. 


You  obtain  a  clearer  complexion, 
a  brighter  eye  and  a  more  elas- 
tic step.  Many  write  that  they 
have  been  astounded  at  losing 
wrinkles  which  they  had  sup- 
posed could  not  be  effaced.  Your 
nerves  are  improved  and  your 
sleep  is  more  refreshing.  You 
regain  youthful  vigor  and  spirits 
as  well  as  a  youthful  form. 

And  you  obtain  all  this  with- 
out any  discomforts  or  self-de- 
nial. You  make  no  change  in 
your  daily  routine.  You  con- 
tinue to  do  the  things  you  like 
and  to  eat  the  food  you  enjoy. 
In  fact,  far  from  giving  up  the 
pleasures  of  the  table,  you  may 
even  increase  them. 

The  Secret  Explained 

Scientists  have   always  real- 
ized that  there  was  some  natural 
law  on  which  the  whole  system 
of   weight  control   was  based. 
But  to  discover  this  vital  "law 
of    food"    had    always  baffled 
them.    It  remained  for  Eugene 
Christian,  the  world-famous  food 
specialist,   to   discover   the  one 
safe,  certain  and  easily  followed 
method  of  regaining  normal,  healthful 
weight.     He  discovered  that  certain 
foods  when   eaten   together  take  off 
weight  instead  of  adding  to  it.  Cer- 
tain   combinations   cause    fat,  others 
consume  fat.    For  instance,  if  you  eat 
certain  foods  at  the  same  meal,  thev 
are  converted  into  excess  fat    But  eat  these  same 
fn^blood^  ^  an4.theywinabe  converted 
SSL]? %T  and  mas<:ie-    Then  the  excess  fat  you 
hAVe  'SJP**  ?p-    There  is  nothing  comply 
SSL?^  "othing  hard  to   understand.8    It  is 
simply  a  matter  of  learning  how  to  combine  your 
food  properly,  and  this  is  easily  done. 

This  method  even  permits  you  to  eat  many 

vo  Ir'elf     K0ds  Which  you  may  now  *  denying 
a  i-     or  y°*<*n  arrange  your  meals  so  that 
these  dehcacies  will  no  longer  be  fattening. 

Free  Trial— Send  No  Money 

oki»Ugene»Crristia?  has  incorporated  his  remark- 
able secret  of  weight  control  into  12  easy-to-follow 

H~M?  "Cai,ed  Weight  Comrol-the  yB%is  of 
Health.  lessons  one  and  two  show  you  how  to 
reduce  slowly;  the  others  show  how  to  reduce 

E  T^r£?luy •,,-ToJ-make  {t  Possib,e  ^  every  oni 
to  profit  by  his  discovery  he  offers  to  send  the 

in^eecoup0oUnrSe  °n  "™ i*  ^  °nC  Sendin* 

a  ™Jvf  aCS  <JuickI3r.  y°u  can  take  advantage  of 
a  special  reduced  price  offer  that  is  being  made 
for  a  short  time  only.  All  you  need  do  is  to  mail 
tie  coupon— or  write  a  letter  or  postcard  if  you 
Pr.f.fe.r— without  sending  a  penny,  and  the  course 
will  be  sent  you  at  once,  IN  PLAIN  WRAPPER. 
When  it  arrives  pay  the  postman  the  special 

SITU0'  0nly  $1"97  (P,US  =  few  «nts  postage) 
and  the  course  is  yours.    The  regular  price  of  the 

Se,v  $3-50.-,but  *l-?7  is  allSyou  have  to  pay 
while  this  special  offer  is  m  existence.    There  are 
™  tiUrUlfr  Paym/nts-    But  if  you  are  not  thor- 
oughly pleased  after  a  10-day  test  of  this  method 
vol-  ™»Tr  return  the  course  and  your  money  will  be 
<-*=nrly.    (If  more  convenient  you  may 
hut  this  is  not  necessary.) 
ever.    Either  you  ex- 
wonderful  reduction  in 
ful  gain  :    '  -----«-» 


R  "™- Mary  J  Denneny,  of  82  W.  9th  St., 
Bayonne,  N.  J.,  before  and  after  losing  74 
pounds  by  this  wonderful  method.  She 
also  banished  nervousness,  weakness.  In- 
somnia and  digestive  disorders?  Hereon!, 
piexion  Improved  wonderfully.  She  Is  still 
reducing  and  will  continue  to  do  so  until 
she  reaches  her  normal,  ideal  weight. 

method  or  else  you  return  the  course  and 
money  is  refunded  without  question. 


youi 


forAllQnljr 


Don't  delay.  This  special  price 
will  soon  be  withdrawn.  If  you 
act  at  once  you  gain  a  valuable 
secret  of  health,  beauty  and  nor- 
mal weight  that  will  be  of  price- 
coupon  NOW.y°U  throughou*  your  life-    Mail  tl 

CORRECTIVE  EATING  SOCIETY,  Dept.  W-22> 
43  W.  16th  St.,  New  York  City 

_  //  you  prefer  you  may  copy  wording  of  cou 
tn  a  tetter  or  on  postcard. 

CORRECTIVE  EATING  SOCIETY. 

Dept.  W-2228,  43  Wat  1 6th  St.,  New  York  Citj 

Without  money  in  advance  you  may  send  me 
"w  -  wraP°er.  Eugene  Christian's  $3.50  Course 
Weight  Control— The  Basis  of  Health,"  in 
lessons.    When  it  is  in  mv  hands  I  will  pay 
postman  only  $1.97  (plus  the  few  cents  postage 
full  payment,  and  there  are  to  be  no  further 
ments  at  any  time     Although  I  am  benefit^ 
this  special  reduced  price,  I  retain  the  privileg 
returning  this  course  within  10  days,  and  ha 
my  money  refunded  if  I  am  not  surprised 
pleased  with  the  wonderful  results.    I  am  to  be 
sole  judge. 

Name  . 


Street 


(Please  write  plainly) 


Rate 
10  cents 
a  word 


CLASSIFIED  ADVERTISING 


Last  forms 
October  issue 
close 
July  20 


AGENTS  WANTED 


OLD  COINS 


GENTS — in  every  locality  in  America  to 
die  our  toilet  preparations,  extracts,  food 
lucts,  remedies,  etc.:  150  per  cent  profit, 
i.te  to-day.  Marvelo  Co.,  B  3604  Rhodes, 
cago,  Illinois. 


ASTROLOGY 


S.STROLOGY  —  Stars  tell  Life's  story, 
ad  birthdate  and  dime  for  trial  reading. 
Idy,  Westport  St.,  33-79A,  Kansas  City, 
esouri. 


AUTOMOBILE  ACCESSORIES 


PISTON  Ring  perfection  reached,  send  for 
je  evidence  booklets.  "It's  What  the  User 
.ys  that  Counts,"  that's  making  the  de- 
ind  for  Zelnicker  Ever  Tytes,  the  ring 
at  saves  fuel  and  oil  and  increases  effi- 
?ncy,~  stops  oil  pumping,  and  saves  rebor- 
g  of  cylinders.  Made  in  all  sizes  up  to  100 
ches  for  boats,  locomotive  engines,  pumps, 
>mpressors,  airplanes,  etc.  Will  send  on 
ial  to  anyone  commercially  rated.  Ever- 
ype  Piston  Ring  Div.  St.  Louis. 


CALIFORNIA  GOLD,  $Vi  size,  27c;  $% 
size,  63c;  half-dime  and  Catalogue,  10c.  Nor- 
man Shultz,  Colorado  Springs,  Colo. 


PATENTS 


PATENTS — Send  for  free  book.  Contains 
valuable  information  for  inventors.  Send 
sketch  of  your  invention  for  Free  Opinion  of 
its  patentable  nature.  Prompt  Service 
(Twenty  Tears'  Experience).  Talbert  & 
Talbert,  461  Talbert  Bldg.,  Washington,  D.  C. 


PERSONAL 


WHY  NOT  havo  Health,  Happiness,  Suc- 
cess? Send  25c  for  the  THOUGHT -WAY. 
Fifth  Edition.  Agents  wanted.  The  Thought- 
Way  Builders,  DepL  B543,  New  London, 
Conn. 


HELP  WANTED 


PHOTOPLAYS 


SONG  WRITERS!  A  proper  start  may 
mean  your  success.  I  have  an  exceptional 
proposition.  Write  to-day  for  particulars. 
Howard  Simon,  22  West  Adams  Ave.,  De- 
troit, Mich. 


WRITE  THE  WORDS  FOR  A  SONG.  We 
write  music  and  guarantee  to  secure  pub- 
lication. Submit  poems  on  any  subject. 
Broadway  Studios,  262  Fitzgerald  Bldg.,  New 
York, 


SONG  WRITERS— If  you  have  song  poems 
or  melodies  write  me  immediately.  I  have 
absolutely  the  best  proposition  to  offer  you. 
Ray  Hibbeler,  D  167,  4040  Dickens  Ave.,  Chi- 
cago. 


SONG  WRITERS— If  you  have  song  poems 
or  melodies  write  me  immediately.  I  have 
wonderful  proposition  to  offer  you.  Ray 
Hi/bbeler,  D-167,  1040  Dickens  Ave..  Chicago. 


STAMPS 


NEWFOUNDLAND  stamps,  "Ancient  and 
Modern."  Retail  and  Wholesale.  Bargain 
Prices.  Send  for  Lists.  Rev.  E.  A.  Butler, 
St.  George's,  Newfoundland. 


$75  to  $150  weekly.  Free  samples.  Low- 
st  priced  gold  window  letters  for  stores, 
ffices  and  autos.  Anybody  can  do  it.  Large 
emand.  Exclusive  territory.  ACME  LET- 
'ER  CO.,  2800V  Congress,  Chicago. 


ALL  MEN,  women,  boys,  girls,  over  17 
Wiling  to  accept  Government  positions,  $135, 
graveling  or  stationary)  write,  Mr.  Ozment, 
169,  St  Louis,  Mo. 


MEN  WANTED  to  make  Secret  Investiga- 
:ions  and  reports.  Experience  unnecessary. 
.Write  j.  Ganor,  Former  Gov't  Detective,  145 
3t.  Louis,  Mo. 


MOTION  PICTURE  SUPPLIES 


EARN  $110  to  $250  monthly,  expenses  paid, 
s  Railway  Traffic  Inspector.  Position  guar- 
anteed after  3  months'  spare-time  study  or 
aoney  refunded.  Excellent  opportunities. 
Vrite  for  free  booklet.  G-134  Stand.  Busi- 
es Training  Inst.,  Buffalo,  N.  Y. 


BIG  Money  and  Fast  Sales.  Every  owner 
lys  Gold  Initials  for  his  auto.  You  charge 
.50;  make  $1.35.     Ten  orders  daily  easy. 


MOTION  PICTURE  CAMERA  for  sale, 
scellent  motion  picture  camera  with  pano- 
mic  tripod  and  extra  magazines,  etc.; 
laranteed  apparatus.  Address  Box  695, 
narillo,  Texas. 


ite  for  particulars  and  free  samples, 
erican  Monogram  Co.,  Dept.  172,  East 
nge,  N.  J. 


MAGAZINES 


OUND  volumes  of  SCREENLAND  now 
'jr.  Price  $5.00  per  volume.  Each  volume 
ides  every  copy  published  from  Septem- 
1920,  to  July,  1922.  Address  Subscrip- 
Department,  SCREENLAND,  Holly- 
3,  Calif. 


}  READERS  of  these  classified  columns, 
EENLAND  offers  a  special  trial  sub- 
>fion  offer  of  seven  months  for  $1.00. 
offer  to  new  subscribers  only.  Send 
x  or  money  order  to  Dept.  C,  Screen- 
"  Hollywood  Blvd.,  Hollywood,  Calif. 


PHOTOPLAYS  WANTED  FOR  CALIFOR- 
NIA PRODUCERS;  also  Stories  for  publica- 
tion. (Manuscripts  sold  on  commission.)  Sub- 
mit manuscripts,  or  if  a  beginner,  write  for 
Free  Plot  Chart  and  Details.  Harvard  Com- 
pany, 312  San  Francisco. 


AMBITIOUS  WRITERS  send  today  for 
Free  copy,  America's  leading  magazine  for 
writers  of  photoplays,  stories,  poems,  songs. 
Instructive,  helpful.  Writer's  Digest,  638 
Butler  Building,  Cincinnati. 


WITHOUT  money  or  experience  you  can 
make  over  $100  monthly  in  your  spare  time 
from  the  Movie  near  you.  Send  25c  for 
complete  instructions.  Dube,  510  Bryson 
Building,  Los  Angeles. 


FREE  to  writers — a  wonderful  little  book 
of  money-making  hints,  suggestions,  ideas; 
the  A  B  C  of  successful  Story  and  Photoplay 
writing.  Absolutely  Free.  Just  address  Au- 
thors' Press,  Dept.  156,  Auburn,  N.  Y. 


SCENARIO  writers  will  learn  something  to 
their  interest  by  addressing  Irvine  Photo- 
play Service,  Culver  City,  Calif. 


PICTURES 


PICTURES.  Zee  Beautiful  Girl  Pictures. 
10  wonderful  poses,  $1.00.  18  specials,  $2.00. 
Real  "Taken  from  Life"  photographs.  Your 
money  refunded  if  dissatisfied.  Bairart  Co.," 
1008  St.  Louis,  Missouri. 


SONGWRITERS 


SONGWRITERS!  Learn  of  the  public's 
demand  for  songs  suitable  for  dancing  and 
the  opportunities  greatly  changed  conditions 
offer  new  writers,  obtainable  only  in  our 
"Songwriters  Manual  &  Guide"  sent  free. 
Submit  your  ideas  for  songs  at  once  for  free 
criticism  and  advice.  We  revise  poems,  com- 
pose music,  secure  copyright  and  fac'H*~t» 
free  publication  or  outright  »»'- 
Knickerbocker  Studio- 
New  York. 


STAMPING  NAMES 


MAKE  $19  per  100,  stamping  names  on  key 
checks.  Send  25c  for  sample  and  instruc- 
tions.  X  Keytag  Co.,  Cohoes,  N.  Y. 


MAKE  $1  an  hour,  with  our  key-checks. 
No  outfit  to  buy.  We  furnish  everything 
Either  sex.  Send  10c  for  sample  and  instruc- 
tions.  World  Registry  Bureau,  Cohoes,  N.  Y. 


WRITERS 


TYPING  Manuscripts  our  specialty.  Write 
for  information  and  terms.  Writers  Service, 
431  Grouse  St.,  Akron,  O. 


WILL  YOU  EXCHANGE  LETTERS,  AND 
MAKE  NEW  FRIENDS?  You'll  have  lots  of 
fun!  Betty  Lee,  4254  Broadway,  New  York 
City.    Stamp  appreciated. 


MANUSCRIPTS  tyoed,  50c  thousand 
words;  with  revising,  75c.  Carbons.  De 
Luxe  Typing  Service,  Box  540-D,  Chicago, 
Illinois. 


CORRESPOND  with  friends  and  receive 
jolly  letters  from  everywhere.  Ladies  listed 
free.    Send  10c.    Box  540-AQ.  Chicago,  111. 


MISCELLANEOUS 


ACROBATIC.  Clowning.  Contortion— Easy 
method  illustrated  instructions.  Advanced 
ground  Acrobatics.  Complete  course  includ- 
ing apparatus  "drawings.  $2.00.  "Jingle" 
Hammond,,  Adrian,  Mich. 


WOMEN  —  Are  you  interested  in  your 
health.  Circular  Free.  National  Specialties, 
32  S.  Union  Sq..  N.  Y.  C. 


BE  A  DETECTIVE.  Earn  big  money, 
travel.  Fascinating  work.  Learn  by  our 
home  study  plan.  Particulars  free.  Amer- 
ican School  of  Criminology,  Dept.  S,  De- 
troit, Mich. 


REMARKABLE  Discovery — Positively  re- 
aves Tatoos,  Coal  Marks,  Moles:  «">'e  «ure. 
"ij  process.  Origin?" 
-      -  XJ 


* 

* 
* 
* 
* 
* 


Rate 
10  cents 
a  word 


CLASSIFIED  ADVERTISING 


Feb 


AGENTS  WANTED 


BIG  MONEY  AND  FAST  SALES.  EVERY 
owner  buys  gold  initials  for  his  auto.  You 
charge  $1.50;  make  $1.35.  Ten  orders  daily 
easy.  Write  for  particulars  and  free  samples. 
American  Monogram  Co.,  Dept.  172,  East 
Orange,  N.  J. 


LARGE  SHIRT  MANUFACTURER  WANTS 
Agents  to  sell  complete  line  of  shirts  direct 
to  wearer.  Exclusive  patterns.  Big  values. 
Free  samples.  Madison  Mills,  503  Broadway, 
New  York. 


DEFLEXOGRAPH  FITS  ANY  PHONOGRAPH. 

Stops  scratch  and  surface  noises.  Softens 
tone.  Immense  profits.  Vantone  Co.,  Dept. 
89,  Box  1244,  City  Hall  Station,  New  York. 


ASTROLOGY 


ASTRO LOGIST.    YOUR  LIFE'S  STORY  TOLD 
by  the  stars.    Send  birthdate  20c  to  Mme.  E 
S.  DAVIS,  Box  45,  San  Antonio,  Texas. 


HOW  TO  ENTERTAIN 


AGENTS  TO  SELL  HIGH  CLASS  INCENSE 
Cones  to  consumer.  Wonderful  seller.  100% 
proiit.  Exclusive  territory.  Send  15  cents  in 
stamps  for  sample  box.  Hoboken  Sanitary  Com- 
pany,-247  Clinton  Avenue,  West  Hoboken,  N.  J. 


COLLECTIONS 


PLAYS,  MUSICAL  COMEDIES  AND  REVUES 
minstrel  music,  blackface  skits,  vaudeville 
acts,  monologs,  dialogs,  recitations,  entertain- 
ments, musical  readings,  stage  handbooks, 
make-up  goods.  Big  catalog  free.  T.  S.  Deni- 
son  &  Co.,  623  S.  Wabash,  Dept.  82,  Chicago. 


SHORT  STORIES  AND  PHOTOPLAY 

cized.    Advice  given  regarding  revis. 
sale.  Special  attention  to  beginners.  Part 
w    ^Tfy,-,  EarIe    L    Strickland,    609  L 
Warfield  BIdg.,  San  Francisco,  Cal 


MAIL  ORDER  METHODS 


Pp?oduS^YA,  WANTED  F°R  CALIFORNIA 
Producers— Also  want  magazine  stories  etc 

detaflf  ;Ceaptl0&    T°  beginners,  plot  chart  and 

ciloUSCal1forniarVard  C°mPany'  312'  San  Fra"" 


$50  WEEK  EVENINGS,   I  MADE  IT,  MAIL 
order  business.    Booklet  for  stamp  tells  how. 
Sample  and  plan  25c.     Free,  12  articles  worth 
*3.    Alsern  Scott,  Cohoes,  N.  Y. 


SONG  WRITERS 


OFFICE  SUPPLIES 


SONG    WRITERS -IF    YOU    HAVE  SONG 
poems    or    melodies    write    me  immediately 
you      EavtuV^n^'  Proposition  to  offer 
r£Y'  ~~   7  Hibbeler,  D167,   4040  Dickens  Ave 


Ch 


icago. 


BUSINESS    MEN:    ASK    FOR    PRICES  ON 

H?uetekSIndida„0affiCe  SUPPHeS-    McFarlin^  Terra     WRITE   THE    WORDS   FOR   A  SONG. 


OLD  COINS 


OLD  COINS,  LARGE  SPRING  SELLING  CAT- 
alogue  ot  coins  for  sale  free.    Catalogue  quot- 
ing prices  paid  for  coins,  ten  cents.  William 
Hesslein,  101J  Tremont  Street,   Boston,  Mass 


WF 

r-Pb£  sZTm^S  y^son^eT 
FUUVBldg.,^  Yorrl^tody  C°rP  "8 


WdJ¥  SenH°NG:/NY,  SUBJECT,  YOU  CAN 
ao  it.    bend  words  today— I  will  comnose  th,. 

^Chilgo^  Radner'  6048  ^-eXeTDe^ 


COLLECTIONS— MERRIAM,  507  FIFTH  AVE- 
nue,  New  York  City. 


PERSONAL 


STAMPING  NAMES 


EXCHANGE  JOLLY  LETTERS  WITH  NEW     MAKE  tia 
friends.     Lots    fun!      Enclose    stamp.     Eva        checks      Send  fampms,Mraes   °"  key 

-     ■      tion       V  *r     ♦       r°    f?f  ,saraple   and  instruc- 
tions.   X  Keytag  Co.,  Cohoes,  N.  Y. 


m-.imo.  Luis  turn  unclose  star 
Moore,  Box  908,  Jacksonville,  Florida. 


WITH  NEW  FRIENDS 
either  sex. 


WRITERS 


ie  Franian  Tells  Secret 
Quickly  Making  Your 
.kin  Beautiful 


An  amazing  improvement  can  now  be  made  in  any 
complexion,  almost    overnight.      Famous  beauty 
specialist  tells  of  the  discovery  of  the  three  types 
of  skin  and  the  special  treatment  for  each 


<5"  T  is  now  so  easy  to  have  really 
I  "  beautiful    skin,    free    from  all 
JL  ordinary  blemishes!     Any  com- 
plexion can  quickly  be  transformed 
to    natural,    radiant    beauty!  The 
secret  has  been  found  in  a  scientific 
discovery   concerning   the  basic  na- 
ture of   skin.     This  new  discovery 
brings   amazingly   rapid   results  be- 
cause it  is  based  on  the  fundamental 
fact  that  each  skin— -your  skin— is 
different,  there  are  certain  scientific 
peculiarities  about  it!     Unless  you 
know  what  these  are,  you  may  be 
doing   very   great   damage   to  your 


complexion  every  day.  For  the 
preparations  and  treatments 
that  benefit  another  may  be 
entirely  unsuited  to  your  skin. 

But  the  interesting  and  sur- 
prising thing  is  this:  If  you  do 
know  what  type  of  skin  yours 
is,  and  if  you  use  the  treat- 
ment especially  designed  for 
it,  you  can  make  such  an  im- 
provement in  it  as  would  seem  - 
almost  too  good  to  be  true. 
You  can  see  it  suddenly  trans- 
form to  clear,  fresh,  radiant 
beauty ! 


Which  Is  Your  Type  of  Skin? 


Three  Types 

Oily  Skin 


Caused  by  excessive 
secretion  in  oil  glands 
—as  shown  in  this 
scientific  cut.     Has  " 

1  greasy,  s*"' 

I  ance— 


THIS  remarkable  new  discovery  is  the  out- 
come of  years  spent  in  the  study  of  com- 
plexion correction  based  on  the  known  fact 
that  it  is  wrong  for  all  women  to  .  attempt  to  use 
the  same  preparations  on  their  skins.  The  result 
of  this  exhaustive  investigation  into  the  scientific 
facts  concerning  the  structure  of 
the  skin  is  the  discoverv  - 
Three  t^' 


known  as  the  Luxtone  Beauty  Combination- 
which  is  designed  for  your  type  of  skin,  in  ac- 
cordance with  directions, 
may  do  this  wiijh'or* 
yourself  f* 


And  in  order  that  you 
n»"ny  and  see  for 


RS347A1  V 


ftJiywooi  Screen  land  cuifi 


7 


Vol.  V 


No.  4 


SEPTEMBER  ISSUE — 1922 

MYRON  ZOBEL,  Editor  SYL.  MacDOWELL,  Associate  Editor 


COVER  DESIGN— From  Oil  Portrait  of  Wm.  S.  Hart,  by  C.  E.  Ruttan 

— from  Stendahl  Galleries,  Los  Angeles 

THE  EDITOR'S  PAGE — Timely  Screen  Comment  9 

PERSONALITY  GLIMPSES— Portrait  Gallery 

Guy  Bates  Post,  Douglas  MacLean,  Enid  Bennett,  Lois  Wilson, 
Margaret  Livingston,  Barbara  Bedford,  Betty  Blythe. 

SECRETS  OF  THE  STARS— Intimate  Episodes  17 

by  Patrick  Tarsney 

SO  THIS  IS  HOLLYWOOD !— Aerial  Travelgraphs  19 
THE  RUSH  TO  THE  RESCUE— A  Short  Story  22 

by  Louis  Weadock 

LITTLE  HINTS  FOR  BOOKLO VERS— Reviews  of  Current  Books  25 
MY  TRIP  ABROAD— A  Remarkable  Diary  27 

by  Charlie  Chaplin 

BEHIND  THE  CAMERA  WITH  ELINOR  GLYN  32 
— Life  History  of  a  Photoplay 

by  Melvin  M.  Riddle 

CONFESSIONS  OF  A  STAR  INTERVIEWER  35 

by  Still  Another  One  of  Them 

OPIE  READ  MEETS  DOUG— Overheard  on  the  Set  37 

by  M.  L.  Russell 

THE  LOVE  PERATE— A  Serial  Story  38 

by  the  Stars 

LITTLE  HINTS  FOR  PLAYGOERS— Reviews  of  Films  41 
SHOULD  STARS  HAVE  MOTHERS?— An  Article  44 

by  Harry  Carr  »\' 

BEHIND  THE  SCREEN  IN  HOLLYWOOD— Pictorial  46 
THE  SAME  LITTLE  TESS— Mary  Pickford's  New  Picture  47 
BUNGALOW  BOULEVARD— Close-ups  of  Hollywood  Homes  50 
WHAT'S  THE  MATTER  WITH  MY  STORY  ?— Scenario  Criticisms  S 
YOUR  OWN  PAGE— What  Readers  Say  54 


Published  Monthly  by  Screenland  Publishing  Company 
Publication  Office:  460  Fourth  Street,  San  Francisco,  California 
Administrative  and  Editorial  Offices:  5540  Hollywood  Boulevard, 
Hollywood,  California 
'Myron  Zoeel,  Pres.         Louis  M.  Lissner,  Vice-Pres.         Frank  Asmeh,  Treas. 
Svx.  MacDoweh,  Associate  Editor       Lioyd  Tune,  Advertising  Manager 

Yearly  subscription  price,  $2.50  in  the  United  States  and  possessions,  Mexico 
and  Canada;  in  foreign  countries,  $3.50.  Single  copies  25  cents.  Back  numbers 
30  cents. 

Entered  as  second-class  matter  April  15,  1922,  at  the  postoffice  at  San  Fran- 
cisco, California,  under  the  act  of  March  3,  1879.  Previously  entered  as  SCREEN- 
LAND  Magazine,  August  27,  1920. 

Copyright,  1922,  by  SCREENLAND  Publishing  Co.    All  rights  reserved. 

(Member  Audit  Bureau  of  Circulations.) 

Address  all  communications  to  5540  Hollywood  Boulevard,  Hollywood,  California, 


Could  You  Write 
a  Letter  as  Good 
as  This  One? 


rpHE  following  is  one  of  the  descriptions 
of  Hollywood  sent  to  the  Essay  Editor  in 
the  contest  announced  on  Page  20  of  this 
issue.  SCREENLAND  has  paid  the  writer 
five  cents  a  word  to  publish  this  letter.  The 
Essay  Contest  is  now  at  an  end,  but  every 
month  in  SCREENLAND  you  will  find  many 
contests  of  many  sorts  which  may  bring  you 
an  expected  check.  Another  essay  will  ap- 
pear in  SCREENLAND  for  October. 

MY  IDEA  OF  HOLLYWOOD 

By  MRS.  J.  L.  RICE, 
5322  Calumet  Ave.,  Chicago,  111. 

NOONTIME  in  Hollywood !  I  would  stand 
near  Frank's  Cafe  (which  I  have  heard  is 
the  noontime  rendezvous  of  the  great  and  near- 
great  of  filmdom).  I  imagine  that  I  would  see 
a  few  extras  strolling  around,  eager  to  be  no- 
ticed. I  would  probably  look  in  vain  for  the 
familiar  faces  of  stars  I  have  always  longed  to 
meet.  Where  is  Rodolph  Valentino?  Why  don't 
I  see  him  posing  on  Hollywood's  busiest  corner? 
I  would  wait  around  an  hour  or  two,  but  would 
leave,  disappointed.  Somehow  the  stars  have 
failed  me.  I  have  seen  only  tourists,  all  bent  on 
a  "star  hunt" 

*   »  * 

The  Boulevard  is  lined  with  cafeterias,  open 
grocery  stores  where  one  is  delighted  by  all 
manner  of  fresh  fruits  and  vegetables  on  dis- 
.play,  two  or  three  churches,  bustling  stores  and 
offices,  automobile  show  rooms,  but,  alas,  where 
are  the  stars  I  have  always  dreamed  of  as  prom- 
enading the  avenue  or  whirling  by  in  huge, 
flashy  cars  of  expensive  make?  I  probably 
would  see  several  brightly-painted  cars,  but  they 
would  not  belong  to  the  really  great  stars.  Cars 
purchased  on  the  installment  plan  by  actors  and 
actresses  who  strive  to  live  up  to  the  tourists' 
idea  of  their  wealth  and  magnificence. 

»    *  * 

Night  in  Hollywood!  I  would  visit  the  three 
or  four  hotels  and  cafes  where  the  motion  pic- 
ture people  are  believed  to  congregate.  My 
search  is  rewarded.  I  see  a  famous  star  and 
her  husband  decorously  dining,  as  properly  and 
unostentatiously  as  anjL-prosaic  married  couple! 
I  hear  the  dainty  4ai3y  laughingly  explain  to  ». 
friend  that  their  cook  left  to  get  married.  Just 
like  anyone's  cook  might  do! 

The  streets  and  homes  of  Hollywood  I  imagine 
are  lovely  as  befits  the  pretty  little  town.  Span- 
ish and  Moorish  and  Colonial  bungalows,  set  in 
beautiful  green  lawns,  adorned  with  flowers, 
with  here  and  there,  no  doubt,  more  pretentious 
homes,  belonging  to  some  retired  capitalist  from 
Kokomo  or  Peoria. 

*    *  * 

I  imagine  that  L  as  we'l  as  millions  of  other 
fans,  would  be  disappointed  in  Hollywood.  Is  it 
a  busy,  happy  little  city,  or  is  it  a  huge  den  of 
unrestricted  vice?  I  am  inclined  to  believe  that 
the  former  is  the  real  truth. 


SCREENLAND  C«iifirn» 


Can  Yon  find  More  Than  15 
or  20  Words  in  This  Picture 
Beginning  with  Letter  uWfl 

There  Is  Road,  Rake,  Rope.  How  many  more  can  you 
flhdf  Write  them  down  and  send  them  In  as  soon  as 
Kbie  See  how  easy  It  Is!  Everything  Is  la  plain 
S.  No  need  to  turn  the  picture  upside  down.  This 
Is  a  game  of  skiU.    Effort  will  help  you  win. 


&k'm  m    maa     If  ao      If  one         If  t 

$11,500  fijSi  iUJ 
in  Prizes' 


2nd  prize 
3rd  prize 
4th  prize 
5th  prize 


6tM.S5*!>riH*,e*d<  2 
S«ktolOSlk|ri».eadi  1 


If  two  If  five 

Yeast          Tost  Tent 
Tablets  Is  Tablets  era  Tablets  are 

ordered   ordered      ordered  ordered 

$50    $7S0    $1500  $5000 

3S      375       750  2500 

25      200       400  1250 

25      125       250  600 

25        75       ISO  400 


4 

2 


8 
4 


25 
10 


Costs  Nothing  to  Try! 

lust  send  in  your  list  of  "R"  words.  If  the  judges 
delLae^uHis^ 

the  visible  objects  begmning  with  R  .they  wui 
award  you  first  prize  If  your  list  is  the ;  seccmd  best 
list,  they  will  award  you  second  prae,  etc.  oer. 
started  RIGHT  NOW! 

Win  the  $5,000  Prize! 

You  do  not  have  to  buy  any  Virnogen  Yeast 
Tablets  to  enter  this  contest  and  win  a  prize. 
It  the  judge,  decide  yoorUstof "It"  £  f-fk 

beet  and  you  have  not  ordered  any,  yoa  wUl  V£)M 

win  ttrat  prire  •  •  •  •  •  •  I"** 

(See  column  1  Of  priz*  t«fl 
If  von  •end  in  an  or<l  r  for  one  Jl  package,  <&7kO 
and  VoSrliBt  is  awtrd  d  first  prize,  yoo  win    «J>  I  3U 

iStt  Sitd  column  of  prize  lift} 
It  yoo  order  two  $1  packages  and  yoar     fl»  t  CAA 

Hat  wins  Brst  prize,  you  get  y*9""u 

ISeetrd  column  of  prise  tiat) 

'hanp'.rmfandor  approval.  (&. o/P~.  '«» 

_~  ,  The  last  day  for  mailing  your  solu- 

tfiAA  ExtTa  tOr  rrOmptlieSS   don  to  win  any  of  the  above  prizes 
w    W.   1022     But  for  every  day  ahead  of  that  date  Aft  your  order 

f^o^ 


OBSERVE _ 

1— Any  one  exceptinaynr  etwoloreeeoad 
their  relatives  mar  enter  Bps  "»«f«- 
There  is  no  entrance  fee  of  any  Hod. 
X-All  word  lists  moat  bo,"Wjl»ed 
through  the  mail  by  E  J.  feeler,  Stbft 
Spruce  St...  Fhftadelphia.  Pa.,  snd  «- 
vefopes  mast  be  postmarked  br  peat 
office  dosing  time^ j^o^lothi  1922.1 
a-Conteatants  gltS  "«"t„"E?  fJS\. 
data  before  Son.  15th  «rUI  be  3g£l 
Hod  for  tie  hWier  prirea  Provided  order. 
f„r  Yeast  are  received  throuirh  the  mail, 
postmarked  on  or  before  Nov.  30UV 
4— Only  glial i words  will  be  counted. 
Obsolete,  hyphenated  or  compound  words 
iWnoTbe  counted.  Onlj  the  ^oler  or 
the  plural  of  a  word  wOlbe  used,  but 
both  singular  and  plural  will  not  count. 
Each  ertTUe  or  object  can  be  given  only 
ana  name.  Single  words  made  up  of  two 
separate  word*  or  objects,  such  sa  .ea- 

be  the  final  authority.  Where  several 
synonyms  sre  equally  applicable  «oan 
object  shown  in  the  picture,  a  person 
lUDmittin*  en/  one  of  such  synonyms 
will  be  given  credit  for  one  word  only, 
t— The  largest  Hat  of  words  which  cor- 
reetlT  name  visible  objects  beginning 
with  the  letter  R  Wffl  recede  first 
orise.  and  so  on  down  the  list  of  105 
prise;.  The  wtanlnar  list wfflbejswdotrj 
from  amonaT  the  words  submitted  by  the 
contastanta.  and  not  controlled  by  any 
predetermined  Hat  of  weeds  -elected  by 
the  Judaea  as  beta*;  to-  "correct  or 
— "  list. 


.._  RULES 

one  prize  will  be  given  to  any  ooehonse- 
ho!<i  or  sny  one  group, 
m— If  a  contestant  sends  ns  more  then 
one  list  under  an  assumed  name  or  prs- 
married  name,  then  all  list,  of  such  con- 
testant will  be  disqualified. 
•-Too  most  use  only  one  aide  of  paper. 
Ton  must  number  each  pare  and  object 
hi  a  consecutive  rotation.  Tour  full  name 
and  add  ess  must  be  written  on  each 
pane  in  the  upper  right  hand  corner.  It 
wffl  aid  the  Judaea  material  I  y  if  you  vrM 
arrange  your  words  alphabetical?,  and 
if  yoo  will  use  paper  site  about  6fa.  by 
9  in  Failure  to  do  so,  however,  will  not 
 .  i  .         „„„  wfji  NMtauu  or 


?h7/onWPriThyeTa^ 

n^Vry  rgetStWs«traToo!XtIn  case  of  ties,  duplicates  will  also  be  awarded 


^pp^sssssssss 

Yeast  Tablets! 


•—For  each  wrong  woro,  a 
wBI  bo  deducted  from  the  to 
of  correct  words. 
7-Two  or  more  people  may  ee 

In  ana  srerinsr  the  panrrlo.  Howe 


t  aoalnat  yon.  nor  win  ■ 
[writing  affect  your  score.  Typewrit* 
soar  llaClf  possible.  An  erjaraed  pic- 
ture will  be  fnrniahed  free  upon  request. 
lO— The  anal  decision  will  be  made  by 
three  judges  entirely  tadependentof  and 
hsvmn  no  connection  whatever _wrth  the 
E^TTteefer  Comoany  They  wfll  iraige 
S>e  snaweis  srd>mitted .  sr^swaia  the 
prizes  s»  the  end  of  the  contest.  Each 
participant)  entering  this  contest  agrees 
to^Spt  the  decision  of  the  judges  as 
ttnal  and  condnsive.  wltboot  argument  or 
noeetion.  AD  answers  wBI  receive  full 
eanstaerarJon.  whether  or  not  metihon- 
dfaels purchased.  At  tie  close  of  the 
^testTwWsfllhtts  feve  beenjrraded. 
the  list wtoinafirat prije ««'J*P»5Scj" 
of  the  prize  winners  will  be  rrnblrshea, 
and ™ copyTf  such  Hst  ^nrtojrbmer? 
names  and  addresses  wOTbe  sent  upon 
remest  to  any  t  artirfpant  who  yenda  US 
a  arff-addresaed,  stamped  envelope. 
tl-An  rfdltiona!  prize  of  not  over  (£00 
far  promptness,  sa  eajecJDed  above,  wul 
bt  awarded. 

12 — In  case  of  ties  for  nu 
J£h  tytna losnteat^^p^Scalva  * 
(aseaartosTtbe  prise  so  tied  for. 


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B^ooi.  SCREENLAND  COiGn* 


Screen land 

W6e  EDITORS'  PAGE 


MYRON  ZOBEL 

EDITOR 


SYLMac  DOVE  LL 
ASSOC.  EDITOR 


THE  TOGA  VIEILIS 

V^HEN  the  Roman  youth  had  reached  the  age 
of  reason,  as  a  sign  of  his  recently  acquired 
manhood,  he  donned  the  Toga  Virilis. 

The  movies  are  about  at  the  same  stage.  So 
over-awed  have  they  been  in  the  past  ten  years 
with  the  fifty-odd  million  people  who  go  to  the 
movies  that  they  have  failed  utterly  to  remem- 
ber the  seventy-odd  million  who  stay  away. 

And  now,  apparently,  the  industry  is  about 
to  don  the  Toga  Virilis,  by  appealing  to  the 
mature  mind.  Producers  are  at  last  becoming 
conscious  of  the  millions  who  have  ignored  the 
movies  and  are  beginning  to  reach  out  for  them. 

The  movies  are  getting  out  of  the.  kinder- 
garten class  and  the  grammar  school  class  and 
into  the  universities.  Intelligent  followers  of 
the  cinema  are  also  being  graduated  into 
higher  branches  of  the  Art.  It  is  necessary  for 
them'  to  have  a  screen  magazine  to  serve  them 
as  a  cinema  college  education. 

Screenland  will  serve  this  purpose.  It  is  not- 
our object  to  pander  to  the  fatuous  fancies  and 
petty  passions  of  infantile  minds.  The  readers 
of  this  magazine  are  supposed  to  have  passed 
the  primary  stages  of  their  motion  picture  edu- 
cation— ready  now  to  accept  the  screen  as  an 
established  Art.  We  are  striving  to  prove  to 
them  that  their  Faith  and  Confidence  in  this 
Art  have  not  been  misdirected. 


respect  in  motion  picture  magazines  as  well  as 
in  the  movies. 


SELF-RESPECT 

C  ELF-RESPECT  is  the  first  quality  a  man 
*^  needs  and  the  last  one  he  acquires.  It  is  the 
same  with  motion  pictures.  Realization  of  their 
own  dignity  has  just  begun  to  follow  now  after 
a  ten-year  realization  of  their  own  importance. 

Self-respect  is  as  essential  to  a  motion  picture 
magazine  as  it  is  to  a  literary  magazine.  No 
literary  magazine  would  dream  of  deliberately 
publishing  untruths,  reprinting  old  photo- 
graphs and  calling  them  new,  twisting  the  facts 
from  left  to  right  to  suit  its  purpose.  But  to 
motion  picture  magazines  of  the  past  ten  years, 
these  trifling  vulgarities  have  been  very  com- 
mon. The  same  stories — sent  out  in  mimeo- 
graphed form  from  one  central  office — were 
reprinted  with  slight  changes  in  every  one  of 
the  so-called  motion  picture  magazines.  The 
same  pictures  appeared  in  all  of  them.  There 
was  no  effort  at  originality,  vitality  or  creative 
force. 

The  time  has  come  for  dignity  and  self- 


MORE  THEATRES 


P  VERYBODY  does  not  read  the  same  books 
^or  attend  the  same  theatres.  There  is  no 
reason  why  everyone  should  be  obliged  to 
attend  the  same  picture  house. 

There  is  no  harm  in  the  movies  catering  to 
the  masses  if  they  will  but  remember  that  they 
are  not  all  massed  together  in  regard  to  tastes. 
There  are  masses  who  like  a  little  subtlety, 
delicacy  and  restraint  mixed  with  their  photo- 
drama.  And  these  masses — about  ten  million 
strong — deserve  a  theatre  of  their  own. 

The  children  deserve  a  theatre  of  their  own 
and  here  the  censor  can  wield  his  shears  with 
full  authority. 

There  should  be  a  Little  Theatre  of  the 
Movies,  too,  where  experimental  pictures  are 
shown  for  the  million  or  two  who  enjoy  them. 
The  legitimate  theatres  are  existing  on  the 
patronage  of  less  than  a  million.  Books  are 
published  to  be  read  by  tens  of  thousands. 
"Why  must  the  motion  pictures  depend  upon  the 
fifty  millions  that  they  are  failing  even  now 
to  interest! 

The  movies  have  not  bitten  off  more  than 
they  can  chew  but  the  public  has.  And  they 
can't  go  on  eating  raw  meat  forever  when  there 
are  delicacies  to  be  found  in  other  fields.  It  is 
up  to  the  movies  to  provide  these  delicacies  in 
theatres  devoted  to  that  purpose. 


TWO  BROTHERS 


"WONDROUS  are  the  ways  of  the  censor.  On 
"one  set  in  a  certain  studio  a  director,  famed 
for  the  subtlety  and  delicacy  of  his  stories,  films 
a  seene  in  which  the  comic  character  of  the 
play  helps  himself  to  three  cigars  in  the  home 
of  his  brother-in-law.  This  scene  is  duly  ex- 
purgated by  the  censor  as  inciting  to  theft. 

In  the  same  studio  on  a  neighboring  set,  a 
brother  of  the  same  director  is  spending  ten 
thousand  dollars  a  day  to  film  a  Roman  orgy. 
No  censor's  scissors  will  delete  this  spectacle. 
It  represents  a  "vision"  out  of  history. 

Moral:  Life  today  is  vicious,  history  is  not. 
If  you  want  to  put  a  kick  in  your  picture,  make 
believe  it  does  not  exist  in  life  as  it  is  lived 
today. 


10 


SCREECCLAND  cui&~i» 


Lights 


f 


Action!  Camera! 

Would  You  Know  the  Significance  of  This 
Command  in  Studio  Parlance? 

Make  This  Fascinating  Journey 


Jrom 


Pen  to  Silver  sheet 

By  MELVIN  M.  RIDDLE 

^    Author  of  "Behind  the  Camera  With  Elinor  Glyn" 


J  1 


DO  YOU  WANT 
TO  KNOW? 


How  characters  are  cast  for  pic 
tures ;  the  qualifications  for  the  suc- 
cessful actor  and  actress ;  the  prob- 
lem of  the  "extra  player"  ? 

How  film  scenarios  are  written 
and  prepared  for  screen  production? 

The  proper  way  to  portray  a 
screen  role,  as  told  by 
Conrad  Nagel  and 
other  popular  stars  ? 

How  to  apply  the 
most  intricate  screen 
make-up ;  the  various 
kinds  of  make-up  and 
how  they  are  applied 
for  character  parts? 

All  about  the  mam- 
moth studio  wardrobes 
and  fashion  shops 
where  gorgeous  gowns 
are  designed  and  made 
for  feminine  stars? 


A  FEW  CHAPTERS 

The  Story  and  Scenario 
Construction  of  Settings 
The  Platter  She* 
Studio  Research 
Costuming  the  Players 
Filmland's  Fashion  Shot* 
Properties 

Property  Making  and  Effects 
Casting  the  Characters 
Screen  Make-up 
Hunting  Locations 
Art  of  Direction 
Screen  Portrayal 
Cinematography 
Lighting  and  Effects 
Film  Laboratory 
Titling  and  Editing 
Studio  Exploitation 
Distribution 
Theatre  Presentation 


How  locations 
are   hunted  out 
for  screen  back- 
MP1^   grounds  and  how  the 
companies  lived  out  on  the 
desert  during  the  filming  of 
The  Shiekf 

The  mysteries  and  secrets  of  the 
motion  picture  camera;  all  about  long 
shots,  medium  shots,  close-ups  and  dis- 
solves, etc.? 

All  about  lighting  ef- 
fects that  make  pictures  possible  ? 


Motion  Picture 
Producers  and  Distributors 
of  America,  Inc. 

522  Fifth  Avenue 
NEW  YORK  CITY 

Will  H.  Hays,  President 

April  1,  1922. 

Mr.  Melvin  Riddle, 
Lasky  Studio, 

1520  Vine  St.,  Hollywood,  Cal. 

Dear  Mr.  Riddle:  I  have  re- 
ceived the  copy  of  "Pen  to 
Silversheet"  and  read  it  with 
very  great  interest  and  appre- 
ciation. It  is  splendid.  Thank 
you  for  sending  it.  It  will  be 
very  useful  to  me. 

With  very  kindest  regards, 
I  am, 

Sincerely  yours, 
(Signed)     WILL  H.  HAYS. 
WHH:MH 


The  girl  or  man  who  hopes  to  get  inttv  pictures,  the  aspiring 
scenario  writer  and  the  legion  of  fans  who  "want  to  know" 
what  goes  on  around  the  sets  and  on  location  will  find  this 
fascinating  and  instructive  book  what  they  have  long  been 
waiting  for.  Those  who  have  enjoyed  Melvin  Riddle's  articles, 
Behind  the  Camera  With  Elinor  Glyn,  now  running  in 
SCREENLAND,  will  be  anxious  to  own  these  further  reve- 
lations of  studio  life. 


Perhaps  your  scenarios  have  been  coming  back  from  the 
studios,  unsold.  Probably  your  material  is  good.  But  a  lack 
of  knowledge  of  how  pictures  are  made  and  what  is  vital  to  * 

TIMES- MIRROR  PRESS,  \  g°°d                ™7  ^  keePinS  VOUr  St°rie*  Selling. 

118  S.  Broadway,  t  „ . 

Los  Angeles,  Calif.  J  Ur  course  you  11  want  this  book.   But  you  will  have  to  act  quickly,  for 

Gentlemen:  *  the  limited  edition  of  "Pen  to  Silversheet"  will  soon  be  exhausted.  The 

i  enclose  $1.00  (check,  money  order,  *  P"ce  is  only  $1.00.   Take  advantage  of  this  big  offer  now.   Don't  wait! 

S^pv'ot.-Srt.lL'S:?:  !  Clip  the           cm">°"  TODAY! 

j         TIMES-MIRROR  PRESS 

Address   '..  t  PUBLISHERS 

city   state  \    "8  ^ Bmadw^  Los  Angeles,  Cal. 

* 


Here  with  a  dog-eared  script  beneath  the 
Bough 

Of  a  Hollywood  pepper  tree,  I  allow 
I've  fared  worse  than  in  this  Wilderness — 
A  loaf  of  bread?     Nay,  every  week  Two 
Thou! 

Costume  study  of  Guy  Bates  Post  as  "Omar, 
the  Tentmaker."    Insert,  Virginia  Faire. 


This  is  th«  MAID  MARIQN  of  Fairbank's  ROBIN  HOOD.  You 
no  doubt  recognize  her,  despite  the  medieval  costume,  as  Enid 
Bennett. 


MM****  ||K»III  H  ' 

TT^I""*  BBW  I 


Introducing  Mrs.  Robinson  Crusoe!  In  other  words,  Margaret 
Livingston  is  the  heroine  in  Universal's  modernized  version  of 
the  Defoe  classic.  Portrait  by  Edwin  Bower  Hesser. 


[6 


aajywooA  SCREENLAND  C*iifi«i» 


A  NYBODY  who  has  heard  Douglas  Fairbanks  spout  Shakespeare 
/-m    is  perfectly  willing  to  admit  that  the  resilent  young  man  must 
have  been  a  great  help  to  Frederick  Warde  and  Louis  James 
when  he  supported  them  in  classic  repertoire.    But  anybody  who  has 
heard  him  sing  will  not  so  easily  believe  that  he  once  earned  his 
living  by  singing.    Yet  he  did. 

Douglas,  as  his  wife  calls  him,  Doug,  as  he  is  called  by  plenty  of 
people  who  don't  know  him  so  well  as  she  does,  went  to  the  mat  with 
music  in  Fantana,  a  musical  comedy,  and  part  of  one  of  the  lyrics 
he  gargled  ran  something  like  this: 

"You  ask  me  ivhy  I  love  you 
"And  1  say  I  do  not  know; 
"Ask  the  tiuinkling  stars  above  you 
"White  they  smile  upon  you  so." 
TT'S  a  pretty  thing,  but  no  prettier  than  the  dance  steps  that  went 
x  with  it,  steps  which  Doug's  pal,  Charlie  Chaplin,  who  danced  on 
the  stage  in  England  before  he  came  to  this  country  as  one  of  the 
members  of  a  vaudeville  act,  might  have  envied.    As  for  the  singing, 
the  management  of  Fantana  let  Doug  do  it  all  by  himself;  while  the 
management  of  the  musical  comedies  in  which  Eugene  O'Brien  used 
to  appear  never  let  him  sing  unless  the  rest  of  the  chorus  sang  with 
him.    Lon  Chaney's  managers  were  not  so  particular.    They  per- 
mitted him  to  dance  alone  as  a  dancing  comedian,  although  when  he 
was  a  stage  hand  he  was  surrounded  by  a  strong  supporting  company. 
Too  bad  lie  didn't  have  Francis  X.  Bushman  or  Bull  Montana  in  it. 
They  were  wrestlers  who  could  have  subdued  any  scenery.    One  of 
them  was  also  an  artist's  model. 

T)ILL  HART  first  tasted  grease  paint  and  scenery  when  he  was 
*-*  nineteen.  This  daddy  of  all  western  stars  was  born  in  the 
frontier  town  of  Newburgh,  N.  Y.  His  early  years  were  almost  as 
wild  and  wooly  as  were  those  of  Harry  Carey,  who  was  born  in 
New  York  City  and  who  was  a  practicing  lawyer  before  he  became 
a  western  star.  Tom  Mix  comes  from  Driftwood,  Pa.,  which  metrop- 
olis probably  numbers  among  its  citizens  no  more  two-gun  men  than 
does  Jacksonville,  III.,  where  Charley  Ray  was  a  clerk  in  his  papa's 
drug  store.  Lew  Cody  also  had  a  pharmaceutical  sire,  but  Douglas 
MacLean's  father  was  a  clergyman  and  young  Doug  sold  automobiles. 

Wally  Reid  studied  medicine  and  then  was  a  reporter  for  an  auto- 
mobile magazine.  Later  he  took  up  the  saxophone  and  is  the  undis- 
puted moving  picture  champion  of  that  instrument  of  torture.  If  he 
wanted  to,  he  could  play  well  enough  to  accompany  Rudy  Valentino's 
dancing.    If  he  wanted  to. 

XT ALENTINO  is  not,  and  never  has  been,  the  lounge  lizard  the 
y  envious  have  called  him.  His  is  an  excellent  Italian  family  and 
he  came  to  this  country  to  study  agriculture.  His  English  was  not  as 
good  as  his  intentions  and  he  had  tough  going  in  New  York.  Lefty 
Flynn,  once  a  Yale  football  star  and  now  a  moving  picture  star,  was 
one  of  his  first  friends.  Rudy  danced  in  vaudeville  theatres  and  then 
at  Rector's.  He  was  an  extra  at  Universal  where  his  salary  rose  to 
seventy-five  dollars  a  week.  Rose  and  stuck.  He  got  it  for  playing 
the  lead  in  a  Carmel  Myers  picture  and  he  did  not  get  any  more 
until  The  Four  Horsemen  made  him. 

Before  von  Stroheim  became  an  assistant  director  for  Griffith  he 
was  broke  in  New  York.  But  he  always  had  a  fairly  good  place  to 
eat.  His  best  friend,  a  man  with  whom  he  had  served  in  the  Austrian 
army,  managed  Delmonico's  and  there  was  always  a  place  at  the 
table  for  Erich. 

TT OUSE  PETERS  cooked  his  own  food  when  he  was  a  prospector 
in  South  Africa,  where  J.  P.  McGowan  was  almost  killed  in 
the  Boer  war.  At  that,  neither  Peters  nor  McGowan  took  any  more 
chances  than  did  Roy  Stewart's  father,  who  in  the  early  days  main- 
tained what  law  and  order  was  maintained  in  Hangtown  when  that 
lively  settlement  was  the  toughest  town  in  California.  It  was  a  town 
in  which  Stuart  Holmes  and  Monroe  Salisbury  would  have  found  it 
hard  to  make  a  living.  They  were  artists.  Larry  Semon  wasn't 
exactly  an  artist.  He  was  a  cartoonist  in  New  York.  Robert  Ellis, 
May  Allison's  husband,  was  a  reporter  in  the  same  city  and  Ward 
Crane  worked  there  as  secretary  to  a  politician. 

A/f  ILTON  SILLS,  whose  early  ambition  was  to  be  a  writer,  was 
~  ■*  graduated  from  the  University  of  Chicago  and  became  a  teacher 
instead.  What  a  nice,  quiet  time  he  would  have  had  if  Will  Rogers, 
Buck  Jones  and  Hoot  Gibson  had  been  in  his  school!  Will  Rogers, 
whose  friends  call  him  Bill,  and  who  is  the  owner  of  the  only  bow- 
legs that  were  ever  seen  in  the  Follies,  got  little  "schooling"  as  they 
call  it  in  that  part  of  the  Indian  Territory  where  he  was  born.  Hoot 
Gibson,  who  was  born  in  Nebraska,  and  whose  first  traveling  was 
done  with  a  circus  that  went  to  Australia,  got  less,  and  Buck  Jones, 
a  western  star  who  was  raised  among  the  hostile  Indians  of  Indian- 
apolis, did  not  get  much  more.  Monte  Blue  is  another  curly  wolf 
from  Indiana,  that  rough  and  rugged  country  where  a  man  can  be  a 
man.  So  also  is  John  Bowers,  whose  pride  and  joy  is  his  ocean- 
going yacht.  This,  while  it  may  not  be  quite  so  fast  as  Dustin 
Farnum's  crack  motorboat,  is  much  larger.  "Dusty"  Farnum — strange 
nickname  for  a  sailor,  isn't  it — and  his  brother  Bill  are  New  Eng- 
enders. Franklyn  Farnum,  who  is  not  related  to  them,  formerly  was 
a  singer. 

T^T" ALTER  HIERS  must  have  been  a  cute  kid  when  he  wore  a 
»      cadet's  uniform  at  the  Peekskill  Military  Academy.  Mitchell 
Lewis,  a  graduate  of  Annapolis,  spent  six  years  in  the  United  States 


One  Hundred 


S 


ECRETS  of 

Revealed  by 


Navy;  Lewis  St^c  fought  in  the  Spanish- American  war-  Herbert 
Gnmwood I  was  a  captain  in  the  British  Army  during  the  World  War 
and  Max  Linder  was  in  the  trenches  for  France. 

"yiTLLY  MARSHALL  was  born  in  Nevada  City,  Nev.,  and  Bert 
*  Lytell  wa,  born  in  New  York  City.  Both  were  on  the  stage 
before  they  r.ent  .nto  the  silent  drama  and  each  has  become  fn 
cnte.  earning  speech  maker  since.  Art  Acord,  once  of  Stillwater  Okla. 
was  named  in  honor  of  Artemas  Ward,  who  in  his  day  was  a  pretty 
good  speech  maker  himself.  Neal  Hart  was  a  town  marshal  in 
Wyoming  but  this  was  a  sedentary  employment  as  compared  to  that 
ot  fcddie  Polo  who  was  an  aerial  artist  in  a  circus.  Chester  Conklin 
took  fewer  chances.  He  was  a  circus  clown.  There  was  not  any- 
thing funny  in  Sam  De  Grasse's  business.  He  was  a  dentist. 
/~*ULLEN  LANDIS  was  a  newsboy  in  Nashville,  Tenn.,  and  an- 
°  x  ^.ldw>rn  ,ion.  Richard  Dix,  studied  medicine  in  the  Uni- 
versity of  Minnesota  for  two  years  before  he  went  on  the  stage  in 
the  support  of  James  Neill  who  is  now  in  pictures.  Dix's  first  part 
was  in  The  College  Widow.  Lawrence  Wheat  and  Tommie  Meighan 
were  in  the  original  company  that  played  that  piece.  That  was 
seventeen  years  ago  and  Tommie  Meighan  does  not  look  much  older 
now  than  he  did  then.  The  fact  that  during  all  these  years  he  has 
been  married  to  Frances  Ring  may  account  for  this. 

ILOYD  HUGHES,  who  worked  in  a  film  laboratory  before  he 
-^became  an  actor,  attended  a  polytechnic  high  school  before  he 
worked  in  a  film  laboratory.  Mahlon  Hamilton  prepared  for  a  screen 
cai.-er  by  attending  the  Maryland  Agricultural  College.  Other  lead- 
ing men  chose  educational  institutions  in  which  the  digging  of  Greek 
roots  is  the  hardest  form  of  exercise.  John  Davidson,  Jack  Mulhall 
and  Edward  Everett  Horton  went  to  Columbia;  Rudolph  Cameron, 
George  Le  Guere  and  James  Spottswood  to  Georgetown ;  Dick  Bar- 
thelmess  to  Trinity;  Edmund  Lowe  to  Santa  Clara;  Clyde  Fillmore 
to  Johns  Hopkins;  Carlyle  Blackwell  to  Syracuse;  J.  Frank  Glendon 
to  Montana  Wcsleyan;  George  Walsh  to  Fordham;  Earle  Foxe  to 
Ohio  State;  David  Butler,  son  of  an  American  actor,  to  Stanford; 
H.  B.  Warner,  son  of  an  English  actor,  to  University  College,  London', 
and  Joseph  Schildkraut,  son  of  an  Austrian  actor,  to  the  Sargent 
Dramatic  School  in  New  York. 

tj  ARRY  VAN  METER  ran  a  school  of  his  own  in  Denver  where 
he  taught  physical  culture,  and  Emorv  Johnson  got  his  physical 
culture  at  the  University  of  California.  Edward  Peil  and  Earl 
Rodney  and  Lester  Cuneo  were  educated  at  Notre  Dame,  although  it 
was  in  France  that  Lester  Cuneo  was  decorated  for  bravery. 
P*ARLE  WILLIAMS  was  a  stock  actor.  Thomas  Jefferson  comes 
of  an  old  theatrical  family,  his  father,  Joseph  Jefferson,  the 
greatest  of  American  comedians,  having  been  the  third  of  that  name 
in  a  family  of  actors.  Frank  Mayo,  whose  real  name  is  McGuire,  is 
a  grandson  of  the  Frank  Mayo  who  became  famous  for  his  playing 
of  Davy  Crockett.  Frank  Keenan  is  a  grandfather  himself,  his 
daughter  being  the  wife  of  Ed  Wynn,  the  comedian.  He  has  been 
an  actor  since  the  days  of  the  old  Boston  Museum.  Willard  Mack, 
whose  real  name  is  McLaughlin,  was  born  in  Iowa,  as  was  the 
sprightly  Mr.  Keenan,  and  as  Raymond  Hatton,  the  favorite  son  of 
Red  Oak.  Conrad  Nagel  is  another  Iowan.  His  mother  is  a  Chris- 
tian Science  practitioner  and  he  is  an  usher  in  a  church  of  that  de- 
nomination in  Hollywood.  Those  deep-dyed  screen  villains,  Noah 
and  Wallace  Beery,  hail  from  Kansas  City,  and  King  Baggot  and 
Edwin  August  are  from  St.  Louis.  They  were  all  actors  before  they 
went  into  pictures. 

JACK  HOLT  comes  from  Winchester,  Va.,  the  scene  of  General 
Phil  Sheridan's  famous  ride.  Ben  Turpin,  who  is  not  quite  so 
handsome  as  Mr.  Holt,  was  in  burlesque  and  vaudeville  before  he 
became  the  first  slapstick  comedian  in  pictures.  Al  St.  John  first 
rode  a  bicycle  in  Santa  Ana,  Cal.,  and  Buster  Keaton  was  in  vaude- 
ville sixteen  years  before  he  entered  pictures. 

Dan  Crimmins  is  another  vaudevillain.  Tom  Gallery,  who  in 
The  Son  of  Wallingford  played  a  boy  whose  father  is  a  crook,  is  in 
real  life  the  son  of  a  Chicago  police  captain.  He  himself  began  his 
career  as  a  reporter. 

r  I  "*  ROY  BARNES  was  a  magician  before  he  became  an  actor, 
•  and  Kenneth  Harlan  who  followed  him  in  the  stage  play 
See  My  Lawyer,  came  to  California  with  Gertrude  Hoffman's  vaude- 
ville act,  in  which  he  wore  more  clothes  than  did  Gertrude.  George 
Beban,  who  has  been  an  actor  since  he  was  eight  years  old,  was  once 


HJiywooA  SCREENLAND  C»u£*»h 


17 


and  Seventy-one 


the  OTARS! 

PATRICK  TARSNEY 

the  leading  comedian  at  Sam  T.  Jack's  burlesque  theatre  in  Chicago, 
whcse  proprietor  believed  that  loveliness  when  unadorned  is  adorned 
the  mcst.    Jack  Mower  should  know.    He  was  born  in  Honolulu. 

ELLIOTT  DEXTER,  whom  so  many  people  think  is  an  English- 
man, was  born  in  Texas.  Nigel  Barrie,  who  used  to  be  Joan 
Sawyer's  dancing  partner,  would  not  mind  the  heat  in  either  Honolulu 
or  Texas.  He  comes  from  Calcutta,  India.  Snub  Pollard  and  Billy 
Bevan  are  from  Australia,  where  with  Daphne  Pollard  they  began 
their  careers  in  a  juvenile  opera  company.  William  T.  Carleton  had 
an  opera  company  of  his  own.  For  forty  years  he  was  an  operatic 
baritone  and  now  plays  the  parts  of  men  who  in  real  life  are  young 
enough  to  be  his  sons. 

JOE  KING,  a  leading  man  in  many  society  films,  was  once  a 
chauffeur  in  Venice,  Calif.,  where  there  arc  more  jobs  for  a 
chauffeur  than  there  are  in  Venice,  Italy.    Norman  Kerry,  whose  real 
name  is  Kaiser,  but  who,  for  some  reason,  changed  it,  used  to  be  a 
traveling  salesman.    When  he  got  his  first  job  in  a  studio  he  knew 
nothing  about  acting.    When  Lou  Tellegen  and  Gaston  Glass  and 
Jose  Ruben  got  theirs  they  knew  a  lot.    They  had  been  with  Sarah 
Bernhardt.    Jack  and  Lionel  Barrymore  and  their  sister  Ethel  inher- 
ited plenty  of  ability  from  Maurice  Barrymore  and  Georgia  Drew 
Barrymore.    Any  time  that  Jack  wants 
to  quit  acting  he  can  get  a  job  in  the 
art  department  of  a  newspaper.  He 
had  one  once  in  New  York.    He  works 
in  all  mediums  except  water  colors. 

JACKIE  COOGAN'S  father  was  a 
dancer  in  vaudeville.  He  does  not 
want  to  spoil  the  boy  so  he  lets  him 
think  that  his  salary  is  two  dollars  a 
week  with  fifty  cents  extra  for  "putting 
in  gags."  This  is  the  technical  term 
for  bits  of  business  which  are  intended 
to  bring  laughs. 

There  are  plenty  of  gags  in  Harold 
Lloyd's  pictures  but  that  studious- 
looking  young  man   gets  more  than 

fifty  cents  a  week  for  putting  them  in.  Lloyd,  who  was  born  in 
Omaha,  wasn't  much  older  than  Jackie  when  a  phrenologist  told  him 
that  he  would  make  a  good  actor.  In  an  earnest  effort  to  vindicate 
the  professor's  judgment  he  played  childs*  parts  in  a  stock  company 
and  then,  waxing  bolder,  he  varied  his  school  work  with  appearances 
in  Shakespearean  recitals.  Encouraged  by  the  fact  that  he  still  lived, 
he  began  to  teach  stage  acting,  and  then  began  to  learn  screen  acting 
as  an  extra  with  the  old  Edison  company. 

THE  sauve  Herbert  Rawlinson  has  a  circus  tent  in  his  past.  He 
was  born  at  Brighton,  England,  went  to  school  in  Paris,  moved 
to  Canada  and  left  Canada  with  a  circus  when  he  was  in  his  teens. 
J.  Warren  Kerrigan,  another  exponent  of  virile  masculinity,  was  once 
a  choir  boy  in  an  Episcopal  church.  At  sixteen  he  was  supporting 
his  family  by  singing  on  the  stage.  The  illness  of  his  brother 
brought  him  to  California  and  pictures.  His  brother  got  into  the 
business  end  of  pictures  and  has  been  kept  so  busy  that  he  has  not 
had  time  to  remember  that  he  ever  was  ill. 

GARETH'  HUGHES  is  Welsh  and  David  Powell  is  Scotch. 
William  'Faversham  and  Vernon  Steel  are  English  and  so  is 
Conway  Tearle.  Arnold  Daly,  whose  English  accent  does  not  show 
in  the  pictures  but  makes  his  conversation  evocative  of  Pall  Mall  and 
Bond  Street,  was  born  in  Brooklyn  and  began  his  professional  career 
as  office  boy  for  the  late  Charles  Frohman.  William  Conklin  also  is. 
from  Brooklyn.  Theodore  Roberts  is  from  San  Francisco  and  now 
-combines  avocado  farming  with  character  acting.  When  Marc  Rob- 
bins,  another  character  actor,  plays  rough  and  western  gents,  with 
"  hearts  of  gold,  and  neckerchiefs  tied  behind  and  not  in  front  as  the 
tenderfeet  tie  them,  he  knows  what  he  is  doing.  He  was  a  rancher 
before  he  went  on  the  stage.  Tom.  Santschi  must  evolve  his  westerners 
out  of  his  inner  consciousness.  There  was  not  much  of  the  real  thing 
around  Kokomo,  Ind.,  where  he  was  born. 

WILLIAM  DUNCAN,  one  of  Vitagraph's  stars,  is  a  pretty  good 
man  to  leave  alone.  He  used  to  be  a  working  partner  of  San- 
dow,  the  strong  man,  and  he  is  no  weakling  himself.  Had  he  been, 
he  could  not  have  been  an  instructor  in  Bernard  McFadden's  Physical 
Culture  School  nor  could  he  have  conducted  a  physical  school  of  his 


own.    No  wonder  he  plays  in  pictures  like  Smashing  Barriers  and 
The  Man  of  Might. 

When  little  Willie  Russell  was  in  Ethel  Barrymore's  company  even 
Harold  Lloyd's  far-sighted  phrenologist  would  hardly  have  detected 
in  Willie  indications  that  some  day  he  would  star  in  rip-roaring  blue 
shirt  stuff  Wke  Where  the  West  Begins.  He  was  such  a  well-mannered 
little  boy  and  had  been  since  his  first  appearance  on  the  stage  at  the 
age  of  eight.  But  the  movies  wanted  the  rough  stuff  and  William 
Russell,  the  aluminus  of  Miss  Barrymore's  mannerly  company,  gave 
them  what  they  wanted. 

BRYANT  WASHBURN,  a  member  of  a  family  distinguished  in 
the  history  of  Chicago,  succeeded  in  pictures  without  the  rough 
stuff.  That  fine  actor,  Ralph  Lewis,  also  is  from  Chicago,  where  for 
many  years  his  father  was  prominent  in  state  politics  and  the  affairs 
of  the  G.  A.  R.  James  L.  Crane  is  a  son  of  Dr.  Frank  Crane,  a 
clergyman  who  left  the  pulpit  because  he  found  that  the  magazines 
and  the  newspapers  provided  him  with  a  larger  audience  for  his 
ethical  discourses.  The  father  of  Warner  Oland  was  a  teacher  in 
Sweden ;  and  Warner,  who,  on  the  screen,  impersonates  villains  whose 
principles  would  be  most  repugnant  to  Dr.  Crane,  is  himself  the  trans- 
lator into  English  of  the  astringent  plays  of  Strindberg.  Patrick  H. 
O'Malley,  who,  on  the  screen,  is  called  "Pat,"  and  Bill  Desmond, 
who,  nowhere  except  on  the  screen,  is  called  "William,"  are  products 
of  Dublin,  Ireland.  Wedgwood  Nowell  and  John  Steppling  were 
educated  at  the  University  of  Pennsylvania  while  Germantown,  a 
suburb  of  Philadelphia,  was  the  birthplace  of  J.  Barney  Sherry. 

RICHARD  TRAVERS,  who  is  one  of  the  many  moving  picture 
actors  who  enlisted  in  the  late  war  without  waiting  for  the  draft, 
was  a  practicing  physician  before  he  went  into  the  studios,  and  T. 
Lloyd  Whitlock  was  a  civil  engineer.  Victor  Potel  was  a  merchant 
in  Chicago  when  he  decided  that  as  he  was  six  feet  one  inch  tall  and 
weighed  only  130  pounds,  his  future  in  pictures  was  assured  it  he 
could  keep  down  to  weight.  That  was  in  1914  and  since  that  year  he 
has  been  in  pictures  and  out  of  luck  as  far  as  his  diet  is  concerned. 
Jack  Ridgway,  who  started  with  Forepaugh's  circus,  does  not  care 
what  he  eats.    He  plays  society  roles. 

JACK  SHERRILL  did  not  have  to 
start  with  a  circus.  His  father  was 
the  head  of  the  Frohman  Amusement 
Corporation  and  as  soon  as  Jack  came 
out  of  the  Berkeley  school  in  New 
York  there  was  a  job  in  pictures  wait- 
ing for  him. 

Jay  Belasco's  father,  David  James, 
the  famous  English  comedian,  is  one  of 
the  few  actors  whose  biography  is  to 
be  found  in  the  Encyclopedia  Britan- 
nica.    His  family  name  was  Belasco 
and  his  father  and  the  father  of  David 
Belasco  were  brothers.    Owen  Moore 
and  his  brothers,  Tom  and  Matt,  were 
born  in  Ireland;  and  Herbert  Standing 
and  his  sons,  Wyndham  and  Herbert,  Jr.,  were  born  in  England. 
There  also  was  born  Sir  Guy  Standing  who  has  the  distinction  ot 
being  the  onlv  leading  man  who  was  ever  knighted  after  he  had 
played  in  Los"  Angeles.    Sir  Herbert  Beerbohm  Tree  was  knighted 
before  he  went  into  pictures. 

HENRY  WOODWARD  went  into  pictures  after  he  had  made  in 
the  Philippines  as  first  lieutenant  in  the  regular  army  a  war 
record  equal  to  that  for  which  knighthood  has  been  bestowed.  One  of 
his  exploits  was  rewarded  with  the  Congressional  Medal.  Hardee 
Kirkland  is  a  West  Pointer.  He  deserves  some  sort  of  a  medal  tor 
he  worked  for  McKee  Rankin  a  long  time. 

Tom  Wilson  of  Charlie  Chaplin's  company  is  an  expert  in  another 
kind  of  warfare.  It  was  he  who  trained  Bob  Fitzsimmons  for  his 
fight  with  James  J.  Corbett.  He  trained  him  so  well  that  he  took  the 
championship  away  from  "Gentleman  Jim,"  but  "Gentleman  Jim 
still  holds  among  moving  picture  stars  the  championship  in  hand- 
shaking class.  He  has  the  warmest  handshake  and  the  most  ingratiat- 
ing smile  in  picture  circles.  But  a  clergyman's  son  who  used  to  tight 
as  "Kid"  McCoy,  but  who  now  plays  in  pictures  under  his  real  name, 
Norman  Selby,  runs  him  a  close  second. 


rHIS  amazing  potpourri  of  secret 
episodes  is  only  the  first  of  a 
series.  Next  month  the  pasts  of  seven 
score  screen  queens  will  be  turned 
wrong  side  out  by  this  studio  encyclo- 
pedist, Pat  Tarsney.  Then  will  come 
directors,  c.uthors. 


SAM  KIM,  who  was  a  general  in  the  Chinese  army,  may  have  had 
to  run  once  in  a  while  but  Nobel  Johnson  ran  for  a  living.  He 
was  a  professional  footracer;  Harry  Gribbon  and  Lewis  Durham  were 
professional  baseball  players;  Charley  French  was  a  professional 
banjo  player,  and  Bobby  Dunn  was  a  professional  diver  whose  first 
artistic  associates  were  a  troupe  of  diving  horses.  John  Lowell  ot 
Ten  Nights  in  a  Barroom  fame  was  a  civil  engineer;  William  Bain- 
bridge  was  a  mining  engineer,  and  Len  Clapham  was  a  locomotive 
engineer.  Charles  Ogle  was  a  lawyer,  Charles  Rich  a  dramatic  critic 
and  1.  P.  Loekney  a  playwright.  Dwight  Crittenden  was  a  grand 
opera  singer,  Joe  Rock  a  teacher  of  dancing,  William  Anker  a  teacher 
of  languages  and  Edwin  Stevens  a  bank  clerk. 

BEFORE  he  went  into  pictures  but  after  he  had  studied  law,  Al 
Jennings  robbed  trains  for  a  living;  but  after  he  had  studied 
theology  at  the  University  of  the  Pacific  Milton  Ross  went  into  pic- 
tures.   There  does  not  seem  to  be  any  answer. 


AT  the  very  moment  that  the  photographer  snapped  this 
j[\  sky  view  of  Universal  City,  Erich  von  Stroheim,  cre- 
ator of  that  million-dollar  Foolish  Wives,  was  holding 
conference  with  Carl  Laemmle  in  the  cutting  room. 

You  may  think  that  the  cutting  room  is  a  queer  place  for 


Stroheim  to  confer  with  his  director  general.  They  had  an 
adding  machine  between  them.  With  this,  the  great  Stroheim 
was  doing  his  cutting.  He  didn't  want,  in  his  next  big  pro- 
duction, any  economy  that  could  be  dispensed  with.  By  care- 
ful management  he  knew  that  picture  profits  could  be  cut 


HJb"*"*-  SCREENLAND  0»uOt»i» 


10 


V 


mm 


—%Wm.  M.  Cross, 

down  to  almost  nothing.    *  many  of  those  virile,  not  to  say  redblooded,  western  dramas 

But  the  noise  of  our  motor  drowns  out  the  clatter  of  the  that  you  have  enjoyed  for  so  long.  They  are  made  in  the 
adding  machine,  so  it  need  not  annoy  us  as  we  soar  about  brushclad  hills  to  the  right  of  the  photograph.  There,  too, 
this  famous  den  of  dashing  daguerrotype.  graze  the  herds  of  cow  ponies  and  Indian  mounts.    (The  only 

Universal  City  is  not  a  "one-man  lot."    It  is  the  home  of     use  left  to  horses  now  is  in  the  movies.)    Harry  Carey,  Tom 


20 


Santschi,  Art  Acord  and  Ho<>|  Gibson  arc  some  of  the  brawny 
buckaroos  who  have  tamed  that  last  frontier — the  Wild  West 
of  Block  41,  Lots  A  to  Z,  Hollywood  Tallgrass  tract. 

But  Universal  maintains  other,  if  less  bloodcurdling,  de- 
partments besides  scalping  parties  and  cattle  raids.  In  that 
speckled  stage,  Priscilla  Dean, .queen  of  crook  drama,  grapples 
with  underworld  villains.  Marie  Prevost  pranks  with  the 
goldfishes  in  a  nearby  fountain.  Gladys  Walton,  Frank  Mayo, 
William  Desmond  and  Herbert  Rawlinson  are  other  favorites 
of  the  celluloid  sagas  who 
perform  for  your  edification 
on  these  premises. 

A  low  range  of  oak-clad 
hills,  spanned  by  a  twenty 
minutes  by  car  or  less  by 
auto,  separate  Universal  City 
from  the  Hollywood  of  shop 
and  shirt  fronts. 


H 


OW  would  you  like  to  have  a  picture  like  the  one  on  the 
preceding  page?  A  framed  11x14  photograph  to  hang 
on  your  own  wall?   Here  is  a  way  to  get  one: 


C  a  h  u  e  n  g  a 


Pass 


pierces 


these  hills  and  through  it 
winds  the  white  ribbon  of 
highway — Camino  el  Real — 
the  road  of  kings,  a  part 
of  the  scenic  network  of 
C  a  1  i  f  o  r  n  i  a's  motor  lanes. 
This  is  the  road  that  borders 
Universal,  its  white  surface 
streaked  by  continual  traffic. 

The  checkered  patch  in 
the  upper  left  of  our  photo- 
graph is  a  glimpse  of  a  San 
Fernando  Valley  peach  or- 
chard. Beside  it  winds  a 
sand  strip,  shaded  by  willow 
thickets.  This,  if  you  please, 
is  the  Los  Angeles  River — a 
thread  of  indifferent  mois- 
ture except  when  swollen  by 
winter  rains. 

Universal  is  known  among 
picture  folk  as  a  university 
whose  alumni  are  scattered 
throughout  studioland.  It  is 
distinctly  not  a  nest  of  neo- 
phytes. The  reason  so  many 
great  actors,  directors  and 
scenarists  have  sprung  from 
here  is  because  Universal  is 
one  of  the  oldest  studio 
groups  still  in  violent  erup- 
tion. 

Study  the  ,  "sets"  scattered  about  the  "back  lot"  in  the 
center  of  our  view.  A  diagonal  row  of  scantlings  is  all  that 
you  can  see  of  some,  but  they  support  many  intricately  de- 
signed "fronts,"  which,  when  properly  illuminated,  have  given 
gorgeous  screen  ,  effects.  In  the  veiy  center  of  the  group  of 
buildings  is  an  auto  park  containing  long  files  of  machines, 
radiating  a  comfortable  degree  of  prosp?rity  thereabouts. 

More  hospitality  to  visitors  is  shown  at  Universal  than  at 
most  other  studios.    To  many  California  newcomers  it  is  the 


Write  an  essay  about  Hollywood.  In  500  words,  or  less,  tell 
the  Essay  Editor  just  what  you  think  a  "close-up"  of  Hollywood 
looks  like.  Imagine  yourself  on  Hollywood  Boulevard.  It  is 
noontime.  Are  the  stars  going  past  on  the  way  to  lunch?  Are 
they  in  make-up?  What  sort  of  cars  do  they  drive?  Who  is 
with  them?  In  what  sort  of  places  do  they  eat?  Do  they  at- 
tract as  much  notice  in  Hollywood  as  they  would  in  your  city? 
Describe  the  stores,  the  cafes,  the  shops  and  homes  and  studio 
fronts  as  you  have  always  imagined  them. 

Again,  it  is  night  and  the  boulevard  twinkles  with  head- 
lights. What  c'oes  Hollywood  look  like  at  night?  Do  you  hear 
jazz  floating  from  ballrooms?  Corks  popping?  The  shriek  of 
innocent  victims? 

Some  of  ycu  will  be  humorous  in  your  conception  of  Holly- 
wood. So  this  contest  is  to  be  divided  into  two  groups — one 
for  serious  essays,  another  for  humorous  ones.  Be  sure  to 
mention,  at  the  top  of  your  contribution,  whether  yours  is  to  be 
entered  in  "humorous  essays"  or  "serious  essays."  And  by  no 
means  forget  to  attach  your  name  and  address.  Keep  your 
essay  under  500  words. 

The  contest  will  end  on  July  15,  so  that  at  least  two  of  the 
best  essays  can  be  published  in  the  September  "Screenland." 

The  prizes?  There  will  be  six  of  them — three  framed  11x14 
photographs  of  Hollywood  from  the  air  for  the  funniest  essays, 
and  three  for  the  best  serious  ones. 

And  Five  Cents  a  Word  will  be  paid  to  the  authors  of  the 
ones  chosen  for  publication.  Remember,  at  least  two  essays 
will  be  published.  So  this  contest  gives  you  a  chance  to  win  a 
money  prize  as  well  as  to  win  one  of  these  unusual  aerial 
photographs,  handsomely  framed. 

Write  your  essay  now  and  send  it  to  "Essay  Editor,5' 
"Screenland,"  Screenland  Building,  Hollywood,  California. 


one  glimpse  "behind  the  scenes"  that  is  possible  to  them. 
Universal  employs  the  usual  barbed-wire  entanglements  and 
bolt-studded  barricades  but  it  does  not  support  a  battalion  of 
armed  guards  and  machine  gun  nests  for  curious  Iowans. 
Sightseeing  busses  invade  the  premises  daily  and  if  you  are 
related  to  Will  Hays  you  may  step  aground  and  look  the 
place  over  with  the  assurance  that  if  apprehended  your  life 
sentence  will  be  suspended  by  the  neck  until  dead. 

The  crater-like  splotch  in  the  upper  right  is  not  Vesuvius. 

It  is  a  water  reservoir. 
Bootleggers  have  bombed  it 
by  plane  but  so  far  have  not 
succeeded  in  restraining  the 
flow  of  limpid  C02  stub- 
bornly demanded  by  some 
movie  people,  the  same  as 
others,  you  know. 

Rich  though  it  may  be  in 
scenic  resource,  Universal 
City  is  not  the  only  locale 
used  by  the  numerous  units 
working  there.  The  direc- 
tors and  their  location  hunt- 
ers range  far  and  wide  in 
search  of  "atmosphere"  that 
has  not  been  "done  to  death." 
Picturegoers  are  becoming 
more  critical  and  they  do  not 
want  to  see  Robinson  Crusoe 
herding  his  goats  in  the  same 
corral  where  Alkali  Alger- 
non was  hung.  So,  although 
a  picture  may  be  begun  here, 
it  will  contain  scenes  taken  at 
perhaps  a  half  dozen  other 
places  scattered  throughout 
the  state,  with  interiors  built 
and  photographed  in  those 
big  stages. 

Some  profane  souls  hugely 
enjoy  seeing  Kit  Carson 
guiding  an  emigrant  train 
past  a  row  of  telephone  poles. 
It  is  more  difficult  than  a 
novice  fia/i  realize  to  keep  in- 
congrous  elements  out  of 
scenes,  when  every  period  of 
the  world's  history  is  em- 
braced in  the  photoplay.  In 
spite  of  the  great  care  that 
picturemakers  have  learned 
to  use  in  avoiding  the  irrele- 
vant and  ridiculous  in  serious 
'•  work,  tomato  cans  and  auto 

tracks  still  play  occasional  havoc  in  South  Sea  drama.  Some- 
times it  is  a  mistaken  calculation  of  camera  lines.  Again,  a 
troupe  immersed  in  enthusiasm'  for  their  task  fail  to  detect 
blunder-jnaking  details  that  the  more  observant  fans  will  in- 
variably notice  and  raucuosly  indicate  in  the  hushed  playhouse. 

So  much  for  this  unique  village  of  the  films.  The  pilot  will 
now  circle  the  lot  and  reach  a  1500-foot  altitude  so  we  can 
cross  the  range  of  hills  and  return  to  the  flying  field.  Next 
month  we  will  take  in  the  United  and  R-C  studios,  one  of 
the  largest  and  busiest  groups  in  movieland. 


"•JJywod.  ScREENLAND  c«ufi*»» 


21 


PRESENTS 


he  RUSH  to  /Ae  RE  SCUE 


The  Motion  Picture  Slump  Brings  Another  Crisis  in  the  Busy  Career  of  Mr.  Bloom 
RUCE  WAPPINGER,  a  tall,  ======== 


I  ^  broad-shouldered  director  who 
once  had  been  a  leading  man, 
skipped  nimbly  up  the  steps  that  led 
to  Stage  No.  1  in  the  studio  of  the 
Planet  Film  Corporation,  Inc.,  and, 
reaching  the  top,  stopped  to  hold  open  '  1 

the  canvas  door  for  the  round  little  man  who  had  trudged  up 
the  stairs  after  him. 

"Mr.  Bloom,  I'm  going  to  show  you  something  that  will 
knock  your  eye  out,"  he  said,  proudly. 

His  pudgy  little  employer,  wiping  his  face  with  a  silk  hand- 
kerchief slightly  smaller  than  a  sheet,  smiled  nervously  as  he 
answered : 

"I  hope  it  knocks  all  my  eyes  out,  but  also  I  hope  that  it 
don't  cost  me  too  much  money." 

"It's  worth  all  it  costs,"  his  new  director  assured  him,  and 
led  the  way  across  the  dark  and  lofty  stage. 

The  president  of  the  Planet  Film  Corporation,  Inc.,  doing 
his  best  to  keep  up  with  him,  dissented  in  silence. 

"In  the  pictures  or  out  of  the  pictures  nothing  is  worth  what 
it  costs,"  he  reflected. 

He  would  have  put  his  cynicism  into  words  had  he  not  seen 
that  his  director  was  in  an  elevated  mood  in  which  pessimistic 
sentiments  were  out  of  place.  Wavering  between  his  desire  to 
talk  and  his  disinclination  to  hurt  his  subordinate's  feelings,  he 
held  his  peace.    Half-way  across  the  stage  the  director  halted. 

"Hit  'em,"  he  cried  in  a  voice  of  command. 

Instantly  there  burst  into  brilliant  light  a  magnificent  ball- 
room set  which  hitherto  had  been  shrouded  in  darkness. 

Mr.  Bloom,  blinking  at  the  sudden  flaring  up  of  banks  and 
spots  and  baby  spots  counted  with  his  eye  the  members  of  the 
working  crew,  then  transferred  his  gaze  to  the 
spacious  apartment  which  stood  before  him. 

"My   eye   is   knocked   out,"   he  said, 
soberly,  and  dropping  his  voice  to  a  con- 
fidential whisper,  he  continued : 

"But  I  don't  see  how  you're  going 
to  get  enough  people  to  fill  that  set 
without    borrowing   the  United 
States  Army." 

His   proud    director  smiled 
tolerantly. 

"Oh,  I'll  fill  it  all  right," 
he  assured  him.    "This  ball- 
room stuff  will  be  the 
flash  of  the  picture." 

"It  won't  be  no 
flash,"contended  Mr. 
Bloom,  sinking  his 
teeth  deeper  into  his 
thick  cigar ;  "it'll  be 
an  explosion.  I 
didn't  expect  anything  like  this.  For 
the  ballroom  I  thought  we'd  use  some  stock  and  then 
match  it  up  " 


ANOTHER  great  short  story  of  studio  life  by 
the  author  of  "The  Good  Conduct  Clause," 
"The  Girl  With  a  Pull,"  "The  Yes  Man," 
"Mamma  the  Manager,"  etc. 

Illustrated  by  Everett  Wynn 


Bloom,  honestly,  "but  if  you  want  this 
I'll  let  you  have  it.  Anyway  I've  seen 
it  and  you  turn  off  the  lights  and  save 
the  juice." 

"All    right,   boys,"    the  director 
called  to  the  electricians  and  the  beau- 
tiful ballroom  relapsed  into  the  dark- 
ness  whence  it  had  come. 
Neither  Mr.  Bloom  nor  his  director  spoke  again  until  they 
were  out  in  the  sunshine.   There  a  guarded  look  at  the  direc- 
tor's face  made  Mr.  Bloom  feel  that  his  appreciation  of  the 
ballroom  set  had  not  been  all  that  the  director  had  expected. 
In  a  laudable  effort  to  dispel  the  gathering  cloud  of  misunder- 
standing he  remarked: 
"Nice  weather,  ain't  it  ?" 

His  subordinate  swept  the  landscape  with  dissatisfied  eyes. 
"Fair,"  he  conceded. 

"Nice  weather  for  shooting  interiors,"  said  Mr.  Bloom, 
less  amiably.  "Nobody  but  me  seems  to  remember  that  every 
day  those  sets  are  up  they  cost  me  money.  The  outdoors  don't 
cost  me  a  nickel,  but  I  can't  use  it  if  we  wait  until  it  rains 


to  use  lt- 


"Too  cheap,"  was  the  director's  comment. 


^heapness  is  no  knock 


me, 


Bloom 


"There  will  be  no  rain,"  rumbled  Mr.  Wappinger. 
"I'm  glad  you've  fixed  that,"  remarked  his  employer,  net- 
tled by  the  other's  complacence.    "Just  now  I  need  all  the 
good  luck  I  can  get." 

Instantly  he  regretted  this  burst  of  confidence  for  the  look 
that  the  director  turned  upon  him  had  in  it  less  of  sympathy 
than  of  suspicion. 

"I  didn't  think  that  the  slump  made  any  difference  to  you," 
he  said  insinuatingly. 

"I  didn't  say  that  it  did,  did  I  ?"  parried  his  employer. 
There  was  no  answer  and  Mr.  Bloom  grew  bolder. 

For  slumps  I  don't  care  that,"  he  boasted  and  tried 
to  snap  his  fingers. 

The  day  was  hot  and  they  would  not  snap. 
"For  slumps  I  don't  care  nothing  at  all,"  he 
insisted.     "I  don't  believe  in  slumps.    You  go 
ahead  and  make  the  picture.    I'll  pay  the  bills. 
Maybe  I  won't  discount  'em,  but  I'll  pay  'em." 
was  a.  brave  speech  and  bravely  spoken  and  it 
wrung  from  the  director  a  deep-voiced : 
"Right  you  are." 

"He  believes  it,"  Mr.  Bloom  said  to 
himself  as  his  audience  moved  away. 
"I  wish  I  could  believe  it  myself." 

ALONE,  amid  the  golden-oak 
-XXsplendor  of  his  office,  a  few 
minutes  later,  Mr.  Bloom  real- 
ized that  his  chances  of  paying 
the  bills  for  the  picture  he  had 
engaged  Bruce  Wappinger  to 
direct  were  slim  indeed. 
For  the  afternoon 
mail  brought  him  his 
monthly  statement 
from  his  distributors  in  New  York  and  that  statement 
showed  that  the  moving-picture  public,  whose  intelli- 


Hollywood,  SCREENLAND  c»iiio™» 


gence  Mr.  Bloom  had  so  highly  praised  in  many  interviews, 
was,  with  remarkable  unanimity,  staying  away  from  Mr. 
Bloom's  pictures.  For  Mr.  Bloom  this  was  most  inconvenient 
as  he  had  relied  upon  the  profits  of  pictures  he  already  had  re- 
leased for  funds  with  which  to  finish  the  one  upon  which  he 
was  now  engaged. 

"No  profits,  no  pictures,"  he  said  to  himself  as  glumly  he 
contemplated  the  typewritten  evidence  of  his  mistaken  ap- 
praisal of  the  intelligence  of  the  moving  picture  public.  "I 
know  I  can't  get  another  dime  in  advance." 

Under  his  contract  with  the  distributing  organization  he 
received  five  thousand  dollars  each  week.  Every  Friday  morn- 
ing the  distributors  deposited  the  five  thousand  in  a  Federal 
Reserve  bank  in  New  York  and  every  Friday  afternoon  a  Fed- 
eral Reserve  bank  in  Los  Angeles  notified  Mr.  Bloom  that  the 
money  was  at  his  disposal.  But  lately  the  telegraph  which 
made  this  possible  had  been  carrying  to  Mr.  Bloom  urgent 
inquiries  as  to  why  his  picture  was  not  making  more  rapid 
progress. 

The  answer  was  easy.  Mr.  Bloom  was  having  the  greatest 
difficulty  in  raising  the  twenty  thousand  dollars  that  was  to 
match  the  distributors'  twenty.  They  were  to  send  him  five 
thousand  every  week  for  four  weeks.  But  now  with  Bruce 
Wappinger  chafing  at  the  bit  and  eager  to  start  shooting. 
Mr.  Bloom  found  that  his  chances  of  fur 
nishing  his  share  of  the  production  cost 
were  dim. 

He  had  counted  upon  his  sixty-five  per 
cent  of  the  net  profits  on  his  old  pic- 
ture to  help  him  out,  but  sixty-five 
per  cent  of  nothing  does  not  go  very 
far  even  in  the  moving-picture  busi- 
ness.    Nor  was  he  as  fortunate  as 
those  of  his  competitors  who  had  pic- 
tures in  reserve  which  they  could  re- 
lease as  they  chose.    Mr.  Bloom's 
cupboard  was  bare  of  canned  pic- 
tures.   If  he  released  anything  he 
would  have  to  make  it  first ;  if  he 
had  no  money  he  could  not  make 
it ;  he  had  no  money 


Just  as  he  was  wondering  how 
much  more,  if  any,  he  could 
borrow   on   his   life  insurance 
policies,   Opportunity  knocked 
on  his  door.    Not  knowing  that 
it  was  Opportunity,  but  rather 
apprehensive  that  it  might  be  a 
creditor,  the  distressed  little  man 
said  mildly: 
"Come  in." 

He  who  accepted  the  invitation 
did  not  look  like  a  creditor.  To 
Mr.  Bloom  he  looked  like  a  man  who 
might  own  a  string  of  batiks.    It  had 
been  some  time  since  Mr.  Bloom  had 
even  succeeded  in  owing  money  to  a 
bank. 

The  visitor,  a  man  of  middle-age  and 
impressive  carriage,  bowed  and  without  speak- 
ing, ran  an  uncompromising  eye  over  Mr. 
Bloom  and  Mr.  Bloom's  furniture.  Mr.  Bloom  had  an  un- 
easy suspicion  that  neither  met  with  the  visitor's  approval. 
But  the  visitor  certainly  met  with  Mr.  Bloom's. 

"Custom-made  shoes,  custom-made  hat,  custom-made  shirt," 
the  producer  decided,  and  when  the  visitor  took  off  his  hat, 
added  the  mental  comment:  "Custom-made  toupee." 

The  iron-gray  hair,  of  whose  authenticity  the  little  man  was 
so  doubtful,  thatched  a  head  that  might  have  been  carved  from 
a  block  of  rosy  marble.  The  square  jaw,  the  thin,  tight  lips 
and  the  formidable  nose  that  embellished  the  monolithic  coun- 
tenance conveyed  an  impression  of  power.  That  the  possessor 
of  this  power  had  utilized  some  of  it  for  his  own  use  was  fairly 


evident  from  the  garments  he  wore  and  the  assured  and  easy 
fashion  in  which  he  wore  them.  To  Mr.  Bloom  he  looked 
like  a  distinguished  citizen.  To  a  less  impressionable  observer 
he  would  more  closely  have  resembled  a  successful  crook. 

While  Mr.  Bloom  studied  him,  he  studied  the  office,  and, 
being  the  first  to  complete  his  inspection,  turned  to  the  owner 
of  the  office  and,  in  a  voice  that  was  full  of  decision,  announced : 

"I've  come  here  to  lend  you  some  money." 

Mr.  Bloom,  with  his  eyes  and  his  mouth  wide  open,  started 
to  rise  from  his  chair. 

"Sit  down,"  commanded  the  stranger;  "I've  got  lots  of 
things  to  say  to  you." 

An  hour  later  he  still  was  saying  them,  and  Mr.  Bloom, 
innocent  as  a  middle-aged  dove,  was  drinking  in  the  words  of 
the  serpent. 

ONE  month  from  that  blessed  day  the  insidious  Mr.  Pop- 
ham  was  again  in  Mr.  Bloom's  office  and  again  he  was 
talking.    This  time  he  had  a  grievance. 

"Bloom,"  he  said  pettishly,  "I  thought  you  told  me  that  this 
director  of  ours  is  a  woman-hater." 

"Ain't  he?"  asked  Mr.  Bloom,  surprised.  "He  always  told 
me  he  was." 

He's  trying  to  get  chummy  with  Miss  Adair." 
he?"   asked  Mr.  Bloom,   with  interest. 
"Well,  if  I  was  a  producer  and  didn't  have  to  set 
a  good  example  not  only  to  the  moving  picture 
business,  but  to  the  whole  world,  I'd  try  to  get 
chummy  with  her  myself — not  too  chummy, 
but  just  chummy  enough.    That  is,  if 
my  wife  would   let  me,  which  she 
wouldn't.    But  I'd  want  to  just  the 
same." 

This  impenitent  avowal  aroused  in 
the  granite-faced  man  nothing  but 
scorn. 

"Nobody  on  this  lot  is  to  try  to  get 
chummy  with  Miss  Adair,"  he  said 
portently.    "I  forbid  it." 
"When  people  like  each  other  all  the  for- 
bidding in  the  world  don't  do  no  good,"  re- 
plied   Mr.    Bloom    with    conviction.  "I 
wouldn't  be  surprised  to  hear  that  Miss 
Adair    and    Bruce    Wappinger    like  each 


The  girl  and  the  pug 


hey've  got  no  business  liking  each  other," 
flared  the  other.  'Til  put  a  stop  to  it  as  sure  as 
my  name  is  J.  E.  Popham." 

"Take  a  tip  from  me  that  don't  cost  you 
nothing,"  advised  Mr.  Bloom.    "The  surest 
way  to  bring  people  together  is  to  try  to  pull 
them  apart.    Think  it  over.    And  if  it's  just 
the  same  to  you,  please  be  so  good  as  to  go 
some  place  else  to  do  your  thinking.  I've  got 
all  my  mail  to  go  through." 

There  was  a  pause  during  which  J.  E. 
Popham  occupied  himself  with  his  nails. 
"As  soon  as  this  picture  is  finished,"  he 
said  icily,  "I  want  you  to  fire  Wappinger." 
Mr.  Bloom,  who  had  begun  to  read  his 
niail,  looked  up  with  eyes  that  were  undisturbed. 
"I  won't  do  it,"  he  remarked  quietly,  and  went 
back  to  his  letters. 

J.  E.  Popham  smote  the  desk. 

"Whose  money  is  running  this  plant  ?"  he  demanded. 
"Nobody's  money  is  running  this  plant.    I'm  running  it," 
said  Mr.  Bloom.    "You've  got  some  money  in  it.   That's  all." 
"And  vou  won't  fire  Wappinger?" 
"The  answer  is  still  'No'." 

"Then,"  declared  Mr.  Bloom's  financial  backer,  "you'll 
make  no  more  pictures  with  my  money." 

Mr.  Bloom  read  for  almost  a  minute  before  he  answered. 
Then  he  laid  aside  the  paper  he  had  been  reading,  and  said: 


aaiywooA.  SCREENLAND  Cfcii&t™* 


23 


"So  far  as  I'm  concerned,  1  don't  care  that." 

He  snapped  his  fingers  and  he  was  so  elated  to  find  that  he 
had  snapped  them  successfully  that  he  snapped  them  again. 
The  third  snap  being  not  so  good  he  did  not  attempt  a  fourth. 
Instead  he  stood  up  and  looked  J.  E.  Popham  squarely  in  the 
eye. 

"And  if  I  hear  of  you  bothering  Miss  Adair,"  he  threatened, 
"Fll  throw  you  off  the  lot." 

"You'll  do  what?"  demanded  the  larger  and  heavier  Pop- 
ham,  advancing  upon  him. 

"I'll  have  you  thrown  off  the  lot  and,  what's  more,  I'll  have 
Bruce  Wappinger  do  the  throwing." 

Those  were  Mr.  Bloom's  spirited  words.  He  stood  his 
ground  as  he  uttered  them,  and  there  must  have  been  some- 
thing either  in  the  words  or  in  the  defiant,  not  to  say,  pugna- 
cious manner  in  which  they  were  spoken  that  led  J.  E.  Popham 
to  believe  that  the  danger  from  Bruce  Wappinger  was  immi- 
nent. For  it  is  hardly  to  be  imagined  that,  towering  as  he  did 
head  and  shoulders  above  Mr.  Bloom,  he  would  have  aban- 
doned his  warlike  purposes  simply  because  of  Mr.  Bloom  alone. 
But  abandon  them  he  did  and  in  lieu  of  the  raised  hand  he 
substituted  the  lowered  voice. 

"Don't  get  excited,"  he  counseled.  "Remember  that  your 
blood  pressure  is  high.  There  is  no  reason  that  you  and  I 
should  disagree.  If  you  don't  like  the  way  I  do  business,  buy 
me  out." 

Mr.  Bloom  squirmed. 

"I  don't  like  the  way  you  do  business,"  he  answered,  "but 
just  now  I  haven't  got  the  ready  cash  to  buy  you  out." 

"Then  I'll  buy  you,"  "said  J.  E.  Popham.  "I'll  fire  Wap- 
pinger. I'll  hire  a  director  that'll  mind  his  own  business.  I'll 
produce  pictures.    I'll  feature  Miss  Adair  " 

"You'll  go  broke,"  phophesied  Mr.  Bloom.  "Miss  Adair 
is  a  very  nice  girl,  but  as  an  actress  she  ain't  making  Mary 
Pickford  lose  any  sleep.  She's  doing  fine  just  where  she  is — 
playing  atmosphere  for  ten  a  day." 

"Fifteen." 

"Well,  fifteen  then,  but  she  ain't  worth  five.  If  you  try  to 
make  a  starrer  out  of  her  it  won't  be  because  she  can  act  " 

"Suppose  you  try  minding  your  own  business,"  suggested 
J.  E.  Popham,  looking  more  like  granite  than  ever.  "Miss 
Adair  is  free,  white  and  twenty-one  " 

"Twenty-four,"  said  Mr.  Bloom. 

J.  E.  Popham  ignored  the  interruption. 

"Under  proper  management  "  he  began. 

"Which  she  won't  get  very  much  of  with  you,"  broke  in 
Mr.  Bloom. 

"Bah !"  exclaimed  his  exasperated  partner. 

"Sticks  and  stones  may  break  my  bones,  but  bahs  will  never 
hurt  me,"  pointed  out  Mr.  Bloom.  "You're  getting  to  be  just 
like  a  heavy  in  a  picture.  All  that's  missing  is  the  cigarette 
and  the  mortgage  on  the  old  homestead." 

His  eyes  traveled  to  the  carefully  tended  hand  of  J.  E. 
Popham. 

"Only  the  mortgage  is  missing,"  he  said;  "I  see  you've  got 
the  cigarette.  Also  you've  got  things  kind  of  coming  your 
way,  but  let  me  give  you  a  tip  that  won't  cost  you  nothing. 
The  heavy  never  gets  the  girl.  Because  why?  Because  there's 
always  a  rush  to  the  rescue." 

"Rush  and  be  damned,"  snarled  J.  E.  Popham,  and  went 
out  and  slammed  the  door  behind  him. 

NOT  to  be  outdone  in  spirit,  Mr.  Bloom  slammed  it  again 
when  he  went  out  a  few  minutes  later.  That  nobody 
heard  him  slam  it  annoyed  him,  but  that  he  found  the  com- 
pany still  grouped  about  the  ballroom  set  annoyed  him  more. 
Yet  that  which  caused  him  most  displeasure  was  that  when  he 
reached  the  set  the  camera  was  grinding  and  he  had  to  wair 
until  the  scene  was  shot  before  he  could  get  the  ear  of  BFuce 
Wappinger. 

"Excuse  me  for  taking  any  of  your  valuable  time,"  he  said, 
"but  I  want  to  see  Rose  Adair." 

The  big  director  ran  his  eye  over  the  assemblage  of  young 
women  in  evening  dress. 


"She  was  here  a  minute  ago  "  he  began. 

"Of  course  she  was,"  said  Mr.  Bloom,  with  asperity.  "In  a 
studio  whenever  you  look  for  anybody  they  were  always  here 
a  minute  ago.  That  don't  help  me  half  so  much  as  knowing 
where  she  is." 

"I  don't  know  myself,"  pleaded  the  director.  "I'll  send 
somebody  to  look  for  her  if  you  say  so." 

"Don't  mention  it,"  said  Mr.  Bloom,  loftily.  "If  you  got 
any  people  around  here  that  all  you  do  with  them  is  send  them 
on  errands  I  wish  you'd  fire  'em  right  away.  I'll  do  my  own 
looking." 

"If  you  run  across  Popham  tell  him  I'd  like  to  see  him,  will 
you  ?"  the  director  asked,  with  a  carelessness  that  did  not 
deceive  his  employer. 

"If  it's  about  business,  you  can  talk  to  me,  you  know,"  he 
hinted ;  "I'm  still  on  the  job." 

"I  don't  want  to  see  him  about  business,"  said  the  other 
grimly. 

"No  fights,  Bruce  Wappinger,  no  fights,"  he  warned.  "This 
picture  ain't  done  yet." 

"There  won't  be  any  fight,"  said  the  director  convincingly, 
"but  if  you  don't  want  me  to  make  a  wreck  of  your  new  busi- 
ness partner,  you'll  tell  him  to  keep  away  from  Miss  Adair." 

"You  got  a  muscle  like  a  box  fighter,"  observed  Mr.  Bloom; 
"but  if  you  ever  hit  Popham  in  the  face  you'll  break  your 
hand.  But  don't  hit  him  at  all  till  the  picture's  finished. 
Then,  if  I  was  you,  I'd  hit  him  in  the  stummick." 

"I  don't  want  to  soil  my  hands  on  him,"  said  the  director, 
"and  I  wouldn't  give  him  a  second  thought  if  it  weren't  for  his 
unwelcome  attentions  to  Miss  Adair.  He  seems  to  think  that 
because  he  gave  her  a  job  here  he  owns  her.  She  has  nobody 
to  protect  her  except  me  and  I  shall  not  disappoint  her." 

"You  talk  like  a  title  writer,"  said  Mr.  Bloom,  who  looked 
as  if  he  himself  were  disappointed.  "Every  time  I  hear  big 
words  I  know  I  ain't  going  to  see  a  fight." 

"She's  an  orphan,"  said  Bruce  Wappinger,  sadly. 

"Orphans  twenty-four  years  old  ain't  exactly  helpless,"  ob- 
served his  employer.  "I'm  beginning  to  think  that  if  you  and 
Popham  would  worry  less  about  Rosie  and  more  about  the 
picture,  we'd  get  along  faster.  I  don't  believe  in  hiring  trouble 
for  fifteen  dollars  a  day.  I  was  going  to  tell  her  to  keep  away 
from  both  of  you.  Now  I'm  going  to  find  her  and  fire  her  " 

"Fire  Rosie?"  cried  Bruce  Wappinger,  in  alarm  as  Mr. 
Bloom  turned  away. 

"Fire  Rosie,"  repeated  Mr.  Bloom  over  his  shoulder. 
"You'll  regret  it." 

Mr.  Bloom  stopped  and  faced  the  director,  who  had  hur 
ried  after  him. 

"All  my  life  I've  been  doing  things  I've  regretted,"  he  said 
tartly,  "and  right  now  I  can't  think  of  one  of  them.  I  guess 
another  more  or  less  won't  make  no  difference." 

Muttering  to  himself,  the  director  went  back  to  his  set. 
Muttering  to  himself,  Mr.  Bloom  started  in  quest  of  Rose 
Adair.  He  did  not  have  to  go  far  for  as  he  crossed  a  deserted 
property  room  he  heard  the  throaty  and  seductive  drawl  of  the 
twenty-four-year-old  orphan. 

It  came  from  the  other  side  of  a  canvas  wall  and  Mr.  Bloom 
could  see  neither  the  drawler  nor  the  person  to  whom  she  was 
drawling.    But  distinctly  he  could  hear  Miss  Adair  say: 

"You  precious  darling,  I  love  you,  love  you,  love  you." 

And  then  a  kiss. 

"This  is  no  place  for  me,"  said  Mr.  Bloom  to  himself,  with 
much  earnestness,  and,  turning  on  tip-toe,  he  fled  from  the 
property  room  and  toward  the  set  where  was  Rose  Adair's 
protector. 

"If  she  ever  needs  him  she  needs  him  now,"  he  kept  saying 
to  himself.    "That  Popham  must  have  her  hypnotized." 

But  stirred  as  he  was  by  what  he  had  heard  in  the  property 


24 


lujywood.  SCREENLAND  a»ufi«*fe 


room,  there  were  within  him  stores  of  indignation  still  un- 
tapped, and  these  flowed  freely  at  what  he  saw  on  the  set. 

Seven  male  extras  of  whose  existence  he  had,  until  then, 
been  in  ignorance  were  now  gathered  about  a  card  table  in  a 
corner  of  the  sumptuous  ballroom  and  with  cards  and  chips 
were  deep  in  a  game  which  Mr.  Bloom  had  no  difficulty  at  all 
in  identifying  as  draw  poker.  Only  the  fact  that  they  were  in 
evening  clothes  and  that  the  lights  were  shining  upon  them 
and  the  camera  pointed  in  their  direction  saved  their  game 
from  instant  dissolution. 

"You're  paying  these  fellers  to  play 
cards?"  gasped  Mr.  Bloom  as  he 
caught  Wappinger's  sleeve. 

"It's  in  the  script,"  answered  the 
director  pettishly,  "and  when  I'm 
satisfied  with  the  rehearsal  I'm  going 
to  shoot  it." 

"Don't  gzt  satisfied,"  cried  Mr. 
Bloom,  in  warning  tones.  "This  thing 
wasn't  in  the  script  when  I  saw  it." 

"We  needed  it  and  put  it  in." 

"Take  it  out." 

"I  can't.    I  need  a  flash  of  card- 
playing 


JftUTTLE  HINTSfti 


'X'HE  EXEMPLARY  THEATRE,  by  Harley 
Granville-Barker,  is  an  excellent  perspective  of 
the  commercial  theatre's  contribution  to  society,  and 
its  contents  apply  with  as  great  force  to  motion  pic- 
tures as  to  the  legitimate  drama,  for  which  it  was 
prepared  To  students  of  photodrama,  this  work  is 
well  worth  $2  net.    Little,  Brown  &  Co. 


"But  seven  card  players  at  ten  dol- 
lars a  day!"  gasped  the  man  who 
would  have  to  pay  them.  "For  good- 
ness sake,  have  a  bridge  game  if  you've 
got  to  have  something.  That  only 
takes  four  people,  or  better  yet  have 
a  pedro  game  or  a  casino  game.  They 
only  take  two." 

Wappinger  glared  at  him. 
"I  suppose  I  could  have  one  man 
play  solitaire,"  he  said  in  his  most  sar- 
castic manner. 
"Why  not?" 

"Please,  please  go  away/'  cried  the 
director,  and  lowering  his  voice  he 
whispered,  "These  extras  aren't  charg- 
ing anything  for  the  card  game.  I 
wish  you'd  let  me  get  through  with  it. 
I  want  to  shoot  a  close-up  of  Miss 
Adair  before  she  goes  home." 

Mr.  Bloom  started,  guiltily  con- 
scious that  finance  had  made  him  for- 
get chivalry. 

"Never  mind  the  card  game,"  he  cried,  excitedly; 
with  me.   Maybe  it  ain't  too  late  to  save  Rosie  Adair- 


EIGHT  COMEDIES  FOR  LITTLE  THE- 
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book of  models  for  dramatic  students.  It  presents  a 
varied  assortment  of  light  playlets,  each  of  which 
bear  a  distinct  literary  quality',  at  variance  with 
popular  professional  comedy.  The  simplicity  of  the 
action,  settings  and  stage  business  should  popularize 
them  for  amateur  production.  $1.50  net.  Little, 
Brown  &  Co. 


us 


come 


Wappinger  wheeled  upon  him  with  panic  in  his  eyes. 

"Save  her?"  he  gulped.    "Save  her  from  what?" 

"It  ain't  from  what,  it's  from  who,"  explained  the  agitated 
producer,  pulling  at  his  sleeve.  "If  we  hurry  we  may  get  there 
in  time.   When  I  left  'em  all  they  was  doing  was  kissing." 

HE  had  no  breath  with  which  to  say  more  for  he  and  the 
director  were  now  running  toward  the  property  room. 
As  they  reached  it,  Mr.  Bloom  was  ahead,  a  fact,  which,  as  he 
rounded  the  canvas  wall  and  dashed  toward  Rose  Adair,  he 
had  every  reason  to  regret..  For  if  Mr.  Bloom- had  hot  been 
.  in  the  lead,  J.  E.  Popham  would  not  have  knocked  him  down. 

J.  E.  Popham  did  not  mean .  to  knock  him  down.  J,  E. 
Popham  had  no  idea  that  he  was  there.  J.  E.  Popham^  who 
himself  had  just  been  knocked  down  and  had  scrambled  to  his 
feet  with  nothing  in  his  head  but  thoughts  of  flight,  was  not, 
at  that  moment,  a  free  agent. 

His  collision  with  Mr.  Bloom  sent  him  again  to  the  floor 
from  which  he  had  so  lately  risen.  He  must  have  thought 
that  he  was  safest  there,  for  he  made  no  effort  to  rise.  Nor 
did  Mr.  Bloom  seek  to  get  up.  He  was  sure  that  just  then 
the  floor  was  the  best  place  for  him. 


Standing  above  him  was  Rose  Adair.  She  was  in  the  eve- 
ning gown  in  which  she  had  appeared  in  the  ballroom  set, 
but  also  she  was  in  company  that  had  not  been  with  her  there. 
Her  left  hand  rested  upon  the  curly  head  of  a  manly  looking 
little  chap  of  about  six,  and  her  right  hand  clung  trustingly 
to  the  left  hand  of  "Kid"  Chester,  the  champion  middle- 
weight pugilist  of  California. 

"As  soon  as  he  gets  up  I  wish  you'd  knock  him  down  again," 
she  was  drawling  in  her  rich,  throaty  contralto. 

"Me?"  cried  Mr.  Bloom,  his  eyes 
fascinated  by  "Kid"  Chester's  work- 
manlike right  fist. 

Rose  Adair  laughed,  and  tightened 
her  grip  on  the  prize-fighter's  left 
hand. 

"Not  you,"  she  drawled ;  "I've  told 
my  husband  all  about  you.  He  thinks 
you're  all  right." 

"Much  obliged  and  many  of  them," 
answered  Mr.  Bloom  from  the  bot- 
tom of  his  heart. 

"Your  husband?"  gasped  Bruce 
Wappinger  from  the  doorway. 

"Kid"  Chester  darted  at  the  direc- 
tor a  look  that  had  intimidated  many 
opponents  in  the  ring. 

Then  he  turned  deferentially  to  his 
wife. 

"Dearie,"  he  asked,  "shall  I  nail 
that  one,  too?" 

"No,  precious,"  she  said  languidly; 
"he's  been  very  nice.  That  one  on  the 
floor  was  the  only  one  that  bothered 
me." 

She  could  not  have  meant  Mr. 
Bloom,  for  Mr.  Bloom  was  no  longer 
upon  the  floor.  He  was  bending  over 
the  son  of  Mr.  and  Mrs.  "Kid" 
Chester  showing  him  the  works  of  his 
watch. 

"Oh,  that  feller?" said  Mr.  Bloom; 
"he's  been  bothering  everybody.  I 
don't  care  what  you  do  to  him." 

But  when  he  saw  the  pugilist  gently  disengage  himself  from 
Rose  Adair  and  saw  both  of  his  hands  were  fists  now  instead 
of  one,  Mr.  Bloom's  humanitarian  instincts  got  the  better 
of  his  dislike  of  J.  E.  Popham. 

"I  take  that  back,"  he  said  hurriedly ;  "I  do  too  care.  I'm 
afraid  you'll  hurt  him.   I'll  just  throw  him  off  the  lot  myself." 
He  moved  majestically  to  his  fallen  partner. 
"Get  up,"  he  ordered,  "get  up  and  get  out." 

J.  E.  Popham  arose  and  began  to  brush  the  dust  from  his 
clothing. 

.'  Mr.  Bloom  menaced  him  with  an  oratorical  forefinger. 

"I  said  'up  and  out,'  not  only  'up,'  "  he  reminded  him, 

"I  have  money  invested  here,"  protested  Popham,  although 
not  too  vigorously.. 

"Not  no  more  you  haven't,"  Mr.  Bloom  told  him.  "I'll 
give  you  a  check  for  everything  you  put  in.  I  got  a  letter 
today  with  my  monthly  statement.  The  letter  says  you're  a 
had  boy." 

.  "What's  the  statement  say?"  asked  Bruce  Wappinger, 
whose  art  was  not  wholly  free  from  a  tinge  of  commercialism. 

"The  statement,"  said  Mr.  Bloom,  taking  it  from  his  pocket, 
"the  statement  shows  I'm  making  money.  The  slump  is  over." 


T"HE  RUSTLE  OF  SILK,  by  Cosmo  Hamilton, 
contains  an  element  of  thoughtful  writing  that 
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slightly  disguised  as  a  love  story.  Rather  heavy 
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V/f  AN  SIZE,  by  William  MacLeod  Raine,  is  a  - 

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ments of  N.  W.  M.  P.,  bringing  back  the  bad  man 
through  the  blizzard,  etc.,  but  a  readable,  easy- 
fitting  action  tale  for  all  that  Price  $1.75.  The 
MacMillan  Co. 


ESS 


11! 


"HI)!  Igg^ftl-r 


s>»tH?H*«+ Iff  I 


 to  ^'  - 


Though  she  is  quite  as  attractive  in  her  current  plays,  Betty 
Blythe's  charm  will  always  be  compared  to  her  triumph  in 
QUEEN  OF  SHEBA.       Portrait  by  Alfred  Cheney  Johnston. 


27 


SO  we  wandered  along  through  South  London  by  Ken- 
nington  Cross  and  Kennington  Gate,  Nevvington  Butts, 
Lambeth  Walk  and  the  Clapham  Road,  and  all  through 
the  neighborhood.  Almost  every  step  brought  back  memories, 
most  of  them  of  a  tender  sort.  I  was  right  there  in  the  midst 
of  my  youth,  but  somehow  I  seemed  apart  from  it. 

I  felt  as  though  I  was  viewing  it  under  a  glass.  It  could  be 
seen  all  too  plainly,  but  when  I  reached  to  touch  it  it  was  not 
there — only  the  glass  could  be  felt,  this  glass  that  had  been 
glazed  by  the  years  since  I  left. 

If  I  could  only  get  through  the  glass  and  touch  the  real  live 
thing  that  had  called  me  back  to  London.    But  I  can't. 

A  man  cannot  go  back.  He  thinks  he  can,  but  other  things 
have  happened  to  his  life.  He  has  new  ideas,  new  friends, 
new  attachments.  He  doesn't  belong  to  his  past,  except  that 
the  past  has,  perhaps,  made  marks  on  him. 

My  friends  and  I  continue  our  stroll — a  stroll  so  pregnant 
with  interest  to  me  at  times  that  I  forget  that  I  have  company 
and  wander  along  alone. 

Who  is  that  old  derelict  there  against  the  cart?  Another 
landmark.  I  look  at  him  closely.  He  is  the  same — only  more 
so.  Well  do  I  remember  him,  the  old  tomato  man.  I  was 
about  12  when  I  first  saw  him  and  he  is  still  here  in  the  same 
old  spot,  plying  the  same  old  trade,  while  I — 

I  can  picture  him  as  he  first  appeared  to  me  standing  beside 
his  round  cart  heaped  with  tomatoes,  his  greasy  clothes  shiny 
in  their  unkemptness,  the  rather  glassy  single  eye  that  had 
looked  from  one  side  of  his  face  staring  at  nothing  in  particular, 
but  giving  you  the  feeling  that  it  was  seeing  all,  the  mottled 
nose  with  the  network  of  veins  spelling  dissipation. 


Just  to  meet  H.  G.  Wells,  the  celebrated  novel- 
ist, alone  is  worth  a  trip  to  Europe,  says 
Charlie  Chaplin  in  this,  his  remarkable  diary 
of  his  European  holiday.  "Wells  tries  on  ray 
hat,  then  takes  ray  cane  and  twirls  it.  The 
effect  is  ridiculous,  especially  as  just  at  that 
moment  I  notice  two  volumes  of  the  Outline  of 
History  on  his  table." 


TRIP  ABROAD 


I  remember  how  I  used  to  stand  around  and  wait  for  him 
to  shout  his  wares.  His  method  never  varied.  There  was  a 
sudden  twitching  convulsion  and  he  leaned  to  one  side,  trying 
to  straighten  out  the  other  as  he  did  so,  and  then,  taking  into 
his  one  lung  all  the  air  it  would  stand,  he  would  let  forth  a 
clattering,  gargling,  asthmatic,  high-pitched  wheeze,  a  series 
of  sounds  which  defied  interpretation.  Somewhere  in  the  ex- 
plosion there  could  be  detected  "ripe  tomatoes."  Any  other 
part  of  his  message  was  lost. 

AND  he  was  still  here.  Through  summer  suns  and  winter 
ilsnows  he  had  stood  and  was  standing.  Only  a  bit  more 
decrepit,  a  bit  older,  more  dyspeptic,  his  clothes  greasier,  his 
shoulders  rounder,  his  one  eye  rather  filmy  and  not  so  all- 
seeing  as  it  once  was.  And  I  waited,  but  he  did  not  shout  his 
wares  any  more.  Even  the  good  lung  was  failing.  He  just 
stood  there  inert  in  his  ageing.  And  somehow  the  tomatoes 
did  not  look  so  good  as  they  once  were. 

We  get  into  a  cab  and  drive  back  toward  Brixton  to  the 
Elephant  and  Castle,  where  we  pull  up  at  a  coffee  shop.  The 
same  old  London  coffee  shop,  with  its  bad  coffee  and  tea. 

There  are  a  few  pink-cheeked  roues  around  and  a  couple  of 
old  derelicts.  Then  there  are  a  lot  of  painted  ladies,  many  of 
them  with  young  men  and  the  rest  of  them  looking  for  young 
men.  Some  of  the  young  fellows  are  minus  arms  and  many  of 
them  carry  various  ribbons  of  military  honor.  They  are  living 
and  eloquent  evidence  of  the  war  and  its  effects.  There  are  a 
number  of  stragglers.  The  whole  scene  to  me  is  depressing. 
What  a  sad  London  this  is!  People  with  tired,  worn  faces 
after  four  years  of  war! 

Some  one  suggests  that  we  go  up  and  see  George  Fitz- 
maurice,  who  lives  in  Park  Lane.  There  we  can  get  a  drink 
and  then  go  to  bed.  We  jump  in  a  cab  and  are  soon  there. 
What  a  difference!  Park  Lane  is  another  world  after  the 
Elephant  and  Castle.  Here  are  the  homes  of  the  millionaires 
and  the  prosperous. 

Fitzmaurice  is  quite  a  successful  moving  picture  director. 
We  find  a  lot  of  friends  at  his  house  and  over  whiskies  and 
sodas  we  discuss  our  trip.  Our  trip  through  Kennington 
suggests  Limehouse  and  conversation  turns  toward  that  dis- 
trict and  Thomas  Burke. 

I  get  their  impressions  of  Limehouse.  It  is  not  as  tough 
as  it  has  been  pictured.  I  rather  lost  my  temper  through  the 
discussion. 

One  of  those  in  the  party,  an  actor,  spoke  very  sneeringly  of 
that  romantic  district  and  its  people. 

"Talk  about  Limehouse  nights,  I  thought  they  were  tough 
down  there.  Why,  they  are  like  a  lot  of  larks,"  said  this  big 
leading  man. 


28 


HJJywooi  SCREENLAND  C*xO**i* 


AND  then  he  tells  of  a  visit  to  the  Limehouse  district — a  visit  made 
solely  for  the  purpose  of  finding  trouble.    How  he  had  read  of 
the  tough  characters  there  and  how  he  had  decided  to  go  down  to 
find  out  how  tough  they  were. 

"I  went  right  down  there  into  their  joints,"  he  said,  "and  told  them 
that  I  was  looking  for  somebody  that  was  tough,  the  tougher  the  better, 
and  I  went  up  to  a  big  mandarin  wearing  a  feather  and  said,  'Give 
me  the  toughest  you've  got.  You  fellows  are  supposed  to  be  tough 
down  here,  so  let's  see  how  tough  you  are.'  And  I  couldn't  get  a  rise 
out  of  any  of  them,"  he  concluded. 
This  was  enough  for  me.    It  annoys. 

I  told  him  that  it  was  very  fine  for  well-fed  overpaid  actors  flaunt- 
ing toughness  at  these  deprived  people,  who  are  gentle  and  nice  and 
if  ever  tough  only  because  of  environment.  I  asked  him  just  how 
tough  he  would  be  if  he  were  living  the  life  that  some  of  these  unfor- 
tunate families  must  live.  How  easy  for  him  with  five  meals  a  day 
beneath  that  thrust-out  chest  with  his  muscles  trained  and  perfect, 
trying  to  start  something  with  these  people.  Of  course  they  were  not 
tough,  but  when  it  comes  to  four  years  of  war,  when  it  comes  to 
losing  an  arm  or  a  leg,  then  they  are  tough.  But  they  are  not  going 
around  looking  for  fights  unless  there  is  a  reason. 

It  rather  breaks  up  the  party,  but  I  am  feeling  so  disgusted  that 
I  do  not  care. 

We  meander  along,  walking  from  Park  Lane  to  the  Ritz. 

On  our  way  we  are  stopped  by  two  or  three  young  girls.  They  are 
stamped  plainly  and  there  is  no  subtlety  about  their  "Hello  boys,  you 
are  not  going  home  so  early?"  They  salute  us.  We  wait  a  moment. 
They  pause  and  then  wave  their  hands  to  us  and  we  beckon  them. 

"How  is  it  you  are  up  so  late?"  They  are  plainly  embarrassed  at 
this  question.  Perhaps  it  has  been  a  long  time  since  they  were  given 
the  benefit  of  the  doubt.  They  are  not  just  sure  what  to  say.  We 
are  different.  Their  usual  method  of  attack  or  caress  does  not  seem 
in  order,  so  they  just  giggle. 

Here  is  life  in  its  elemental  rawness.  I  feel  very  kindly  disposed 
toward  them,  particularly  after  my  bout  with  the  well-fed  actor  who 
got  his  entertainment  from  the  frailties  of  others.  But  it  is  rather 
hard  for  us  to  mix.    There  is  a  rather  awkward  silence. 

THEN  one  of  the  girls  asks  if  we  have  a  cigarette.  Robinson 
gives  them  a  package  which  they  share  between  the  three  of  them. 
This  breaks  the  ice.    They  feel  easier.    The  meeting  is  beginning  to 
run  along  the  parliamentary  rules  that  they  know. 
Do  we  know  where  they  can  get  a  drink? 

"No."  This  is  a  temporary  setback,  but  they  ask  if  we  mind  their 
walking  along  a  bit  with  us.  We  don't  and  wre  walk  along  toward 
the  Ritz.  They  are  giggling  and  before  long  I  am  recognized.  They 
are  embarrassed. 

They  look  down  at  their  shabby  little  feet  where  ill-fitting  shoes 
run  over  at  the  heels.  Their  cheap  little  cotton  suits  class  them  even 
low  in  their  profession,  though  their  youth  is  a  big  factor  toward  their 
potential  rise  when  they  have  become  hardened  and  their  mental 
faculties  have  become  sharpened  in  their  eternal  battles  with  men. 
Then  men  will  come  to  them. 

Knowing  my  identity  they  are  on  their  good  behavior.  No  longer 
are  we  prospects.  We  are  true  adventure  for  them  this  night.  Their 
intimacy  has  left  them  and  in  its  place  there  appears  a  reserve  which 
is  attractive  even  in  its  awkwardness. 

The  conversation  becomes  somewhat  formal.  And  we  are  nearing 
the  hotel,  where  we  must  leave  them.  They  are  very  nice  and  charm- 
ing now  and  are  as  timid  and  reserved  as  though  they  had  just  left 
a  convent. 

They  talk  haltingly  of  the  pictures  they  have  seen,  shyly  telling 
how  they  loved  me  in  Shoulder  Arms,  while  one  of  them  told  how 
she  wept  when  she  saw  The  Kid  and  how  she  had  that  night  sent 
some  money  home  to  a  little  kid  brother  who  was  in  school  and  staying 
there  through  her  efforts  in  London. 

The  difference  in  them  seems  so  marked  when  they  call  me  Mr. 
Chaplin,  and  I  recall  how  they  had  hailed  us  as  "Hello,  boys." 
Somehow  I  rather  resent  the  change.  I  wish  they  would  be  more 
intimate  in  their  conversation.  I  would  like  to  get  their  viewpoint. 
I  want  to  talk  to  them  freely.  They  are  so  much  more  interesting 
than  most  of  the  people  I  meet. 

But  there  is  a  barrier.  Their  reserve  stays.  I  told  them  that  I  was 
sure  they  were  tired  and  gave  them  cab  fare. 

One  of  their  number  speaks  for  the  trio. 

"Thanks,  Mr.  Chaplin,  very  much.  I  could  do  with  this,  really. 
I  was  broke,  honest.    Really,  this  comes  in  very  handy." 

They  could  not  quite  understand  our  being  nice  and  sympathetic. 

They  were  used  to  being  treated  in  the  jocular  way  of  street 
comeraderie.  Finer  qualities  came  forward  under  the  respectful 
i.iention  we  gave  them,  something  rather  nice  that  had  been  buried 
beneath  the  veneer  of  their  trade. 

Their  thanks  are  profuse  yet  awkward.  They  are  not  used  to  giving 
thanks.  They  usually  pay,  and  pay  dearly,  for  anything  handed 
them.    We  bid  them  "good  night."    They  smile  and  walk  away. 

WE  watch  them  for  a  bit  as  they  go  on  their  way.  At  first  they 
are  strolling  along,  chattering  about  their  adventure.  Then,  as 
if  on  a  signal,  they  straighten  up  as  though  bracing  themselves  and 
with  quickened  steps  they  move  toward  Piccadilly,  where  a  haze  of 
light  is  reflected  against  the  murky  sky. 

It  is  the  beacon  light  from  their  battle  ground  and  as  we  follow 


them  with  our  eyes  these  butterflies  of  the  night  make  for  the  lights 
where  there  is  laughter  and  gayety. 

As  we  go  along  to  the  Ritz  we  arc  all  sobered  by  the  encounter 
with  the  three  little  girls.  •  I  think  blessed  is  the  ignorance  that 
enables  them  to  go  on  without  the  mental  torture  that  would  come 
from  knowing  the  inevitable  that  awaits  them. 

As  we  go  up  the  steps  of  the  hotel  we  see  a  number  of  derelicts 
huddled  asleep  against  the  outside  of  the  building,  sitting  under  the 
arches  and  doors,  men  and  women,  old  and  young,  underfed,  deprived, 
helpless,  so  much  so  that  the  imprint  of  helplessness  is  woven  into 
their  brain  and  brings  on  an  unconsciousness  that  is  a  blessing. 

We  wake  them  up  and  hand  them  each  money.  "Here,  get  vour- 
self  a  bed." 

They  were  too  numbed.  They  thank  us  mechanically,  accepting 
what  we  give  them,  but  their  reaction  and  thanks  are  more  physical 
than  mental. 

There  was  one  old  woman  abcut  70.  I  gave  her  something.  She 
woke  up,  or  stirred  in  her  sleep,  took  the  money  without  a  word  of 
thanks — took  it  as  though  it  was  her  ration  from  the  bread  line  and 
no  thanks  were  expected,  huddled  herself  up  in  a  tighter  knot  than 
before  and  continued  her  slumber.  The  inertia  of  poverty  had  long 
since  claimed  her. 

We  rang  the  night  bell  at  the  Ritz,  for  they  are  not  like  our 
American  hotels,  where  guests  are  in  the  habit  of  coming  in  at  all 
hours  of  the  night.  The  Ritz  closes  its  doors  at  midnight  and  after 
that  hour  you  must  ring  them. 

"D  UT  the  night  was  not  quite  over.  As  we  were  ringing  the  bell 
we  noticed  a  wagon  in  the  street  about  a  block  away  with  the  horse 
slipping  and  the  driver  out  behind  the  wagon  with  his  shoulder  to 
the  wheel  and  urging  the  horse  along  with  cheery  words. 

We  walked  to  the  wagon  and  found  it  was  loaded  with  apples 
and  on  its  way  to  the  market.  The  streets  were  so  slippery  that  the 
horse  could  not  negotiate  the  hill.  I  could  not  help  but  think  how 
different  from  the  usual  driver  this  man  was. 

He  did  not  belay  the  tired  animal  with  a  whip  and  curse  and  swear 
at  him  in  his  helplessness.  He  saw  that  the  animal  was  up  against  it 
and  instead  of  beating  him  he  got  out  and  put  his  shoulder  to  the  wheel, 
never  for  the  moment  doubting  that  the  horse  was  doing  his  best. 

We  all  went  out  into  the  street  and  put  our  shoulders  against  the 
wagon  along  writh  the  driver.  He  thanked  us  and  as  we  finally  got 
the  momentum  necessary  to  carry  it  over  the  hill,  he  said: 

"These  darn  roads  are  so  slippery  that  the  darn  horse  even  can't 
pull  it."  It  was  a  source  of  wonder  to  him  that  he  should  come  upon 
something  too  much  for  his  horse.  And  the  horse  was  so  well  fed 
and  well  kept.  I  could  not  help  but  notice  how  much  better  the 
animal  looked  than  his  master.  The  evening  was  over  and  I  don't 
know  but  what  the  incident  of  the  apple  wagon  was  a  fitting  finale. 

THE  next  morning  for  the  first  time  I  am  made  to  give  my  attention 
to  the  mail  that  has  been  arriving.  We  have  been  obliged  to  have 
another  room  added  to  our  suite  in  crdrr  to  have  some  place  in  which 
to  keep  the  numerous  sacks  that  are  being  brought  to  us  at  all  hours. 

The  pile  is  becoming  so  mountainous  that  we  are  compelled  to 
engage  half  a  dozen  stenographers  just  for  the  purpose  of  reading 
and  classifying  them. 

We  found  that  there  were  73,000  letters  or  cards  addressed  to  me 
during  the  first  three  days  in  London  and  of  this  number  more  than 
28,000  were  begging  letters — letters  begging  anywhere  from  £l  to 
,£100,000. 

Countless  and  varied  were  the  reasons  set  forth.  Some  were 
ridiculous.  Some  were  amusing.  Some  were  pathetic.  Some  were 
insulting.    All  of  them  in  earnest. 

I  discovered  from  the  mail  that  there  arc  671  relatives  of  mine  in 
England  that  I  knew  nothing  about.  The  greater  part  of  these  were 
cousins  and  they  gave  very  detailed  family  tree  tracings  in  support 
of  their  claims.  All  cf  them  wished  to  be  set  up  in  business  or  to 
get  into  the  movies. 

But  the  cousins  did  not  have  a  monopoly  on  the  relationships. 
There  were  brothers  and  sisters  and  aunts  and  uncles  and  there  were 
nine  claiming  to  be  my  mother,  telling  wondrous  adventure  stories 
about  my  being  stolen  by  Gypsies  when  a  baby  or  being  left  on 
doorsteps,  until  I  began  to  think  my  youth  had  been  a  very  hectic 
affair.  But  I  did  not  worry -much  about  these  latter,  as  I  had  left 
a  perfectly  good  mo'hcr  back  in  California,  and  so  far  I  have  been 
pretty  much  satisfied  with  her. 

There  were  letters  addressed  just  to  Charles  Chaplin,  some  to 
King  Charles,  some  to  the  "King  of  Mirth";  on  some  there  was 
drawn  the  picture  of  a  battered  derby;  some  carried  a  reproduction 
of  my  shoes  and  cane  and  in  some  there  was  stuck  a  white  feather 
with  the  question  as  to  what  I  was  doing  during  the  war. 

Would  I  visit  such  and  such  institutions?    Would  I  appear  for 
such  and  such  charity?    Would  I  kick  off  the  football  season  or 
attend  some  particular  soccer  game  ?     Then  there  were  letters  of  . 
welcome  and  one  inclosing  an  iron  cross  inscribed  "For  your  service's 
in  the  great  war"  and  "Where  were  you  when  England  was  fighting?" 

THEN  there  were  others  thanking  me  for  happiness  given  the 
senders.  These  came  by  the  thousand.  One  young  soldier  sent 
me  four  medals  he  had  gotten  during  the  big  war.  He  said  that  he 
was  sending  them  because  I  had  never  been  properly  recognized. 
His  part  was  so  small  and  mine  so  big,  he  said,  that  he  wanted  me  to 
have  his  Croix  de  Guerre,  his  regimentals  and  other  medals. 


HJJy^oi  SCREENLAND  C»ii6™*» 


29 


J  J 


mast  interesting. 


Some   of  the   letters  were 
Here  arc  a  few  samples: 

"Dear  Mr.  Chaplin:  You  are  a  leader  in  your 
line  and  I  am  a  leader  in  mine.  Your  specialty 
is  moving  pictures  and  custard  pies.  My  spec- 
ialty is  windmills. 

"I  know  more  about  windmills  than  any  man  in  the  world.  I  have 
studied  the  winds  all  over  the  world  and  am  now  in  a  position  to 
invent  a  windmill  that  will  be  the  standard  mill  of  the  world,  as  it 
will  be  made  so  it  can  be  adapted  to  the  winds  of  the  tropics  and  the 
winds  of  the  arctic  regions. 

"I  am  going  to  let  you  in  on  this  in  an  advantageous  way.  You 
have  only  to  furnish  the  money.  I  have  the  brains  and  in  a  few 
years  I  will  make  you  rich  and  famous.  You  had  better  phone  me 
for  quick  action. 

"Yours  truly." 

"Dear  Mr.  Chaplin:  Won't  you  please  let  mc  have  enough  money 
to  send  little  Oscar  to  college.  Little  Oscar  is  12  and  the  neighbors 
all  say  that  he  is  the  brightest  little  boy  they  have  ever  seen.  And  he 
can  imitate  you  so  well  that  we  don't  have  to  go  to  the  movies  any 
more,  [This  is  dangerous.  Oscar  is  a  real  competitor  ruining  my 
business]  and  so  if  you  can't  send  the  little  fellow  to  college  won't 
you  take  him  in  the  movies  with  you  like  you  did  Jackie  Coogan." 

"Dear  Mr.  Chaplin:  My  brother  is  a  sailor  and  he  is  the  only  man 
in  the  world  who  knows  where  Capt.  Kidd's  gold  is  buried.  He  has 
charts  and  maps  and  everything  necessary,  including  a  pick  and 
shovel.    But  he  cannot  pay  for  the  boat. 

"Will  you  pay  for  the  boat  and  half  the  gold  is  yours.  All  you 
need  do  is  say  yes  to  me  in  a  letter  and  I  will  go  out  and  look  for 
John  as  he  is  off  somewhere  on  a  bat,  being  a  what  you  might  call  a 
drinking  man  when  ashore.  But  I  am  sure  that  I  can  find  him  as  he 
and  I  drink  in  the  same  places.    Your  shipmate." 

"Dear  Charlie:  Have  you  ever  thought  of  the  money  to  be  made  in 
peanuts?  I  know  the  peanut  industry,  but  I  am  not  telling  any  of 
my  business  in  a  letter.  If  you  are  interested  in  becoming  a  peanut 
king,  then  I'm  your  man.  Just  address  me  as  Snapper  Dodge, 
above  address." 

"Dear  Mr.  Chaplin:  My  daughter  has  been  helping  me  about  my 
boarding  house  now  for  several  years  and  I  may  say  that  she  under- 
stands the  art  of  catering  to  the  public  as  wishes  to  stay  in  quarters. 
But  she  has  such  high-toned  ideas,  like  as  putting  up  curtains  in  the 
bathroom  and  such  that  at  times  I  think  she  is  too  good  for  the 
boarding  house  business  and  should  be  having  her  own  hotel  to  run. 

"If  you  could  see  your  way  to  buy  a  hotel  in  London  or  New  York 
for  Drusilla,  I  am  sure  that  before  long  your  name  and  Drusilla's 
would  be  linked  together  all  over  the  world  because  of  what  Drusilla 
would  do  to  the  hotel  business.  And  she  would  save  money  because 
she  could  make  all  the  beds  and  cook  herself  and  at  nights  could 
invent  the  touches  like  what  I  have  mentioned.  Drusilla  is  waiting 
for  you  to  call  her." 

"Dear  Mr.  Chaplin:  I  am  enclosing  pawn  checks  for  grandma's 
false  teeth  and  our  silver  water  pitcher,  also  a  rent  bill  showing  that 
our  rent  was  due  yesterday.    Of  course,  wc  would  rather  have  you 


Charlie  visits  the  office  of  the  London 
Weekly  Dispatch.  "1  wonder  what 
they  would  say  to  my  silk  hat  in 
Hollywood?"  he  reflected. 


pay  the  rent  first,  but  if  you  could  as  spare  it, 
grandma's  teeth  would  be  acceptable,  and  we 
can't  hold  our  heads  up  among  the  neighbors 
since  father  hocked  our  silver  pitcher  to  get 
some  beer." 

T  T  ERE  arc  more  extracts  from  a  number  of  the  letters  selected  at 
random  from  the  mountain  of  mail  awaiting  me  at  the  hotel: 

"          wishes  Mr.  Chaplin  a  hearty  welcome  and  begs  him  to  give 

him  the  honor  of  shaving  him  on  Sunday,  Sept.  11,  any  time  which 
he  thinks  suitable." 

A  west  end  money  lender  has  forwarded  his  business  card,  which 
states:  "Should  you  require  temporary  cash  accommodation,  I  am 
prepared  to  advance  you  £50  to  .€10,000  on  note  of  hand  alone,  with- 
out fees  or  delay.  All  communications  strictly  private  and  confidential." 

A  man  living  in  Lexington  Street,  Goldensquare,  W.,  writes:  "My 
son,  in  the  endeavor  to  get  a  flower  thrown  by  you  from  the  Ritz 
hotel,  lost  his  hat,  the  bill  for  which  I  inclose,  7  shillings  and  6  pence." 

A  Liverpool  scalp  specialist  gathers  that  Mr.  Chaplin  is  much  con- 
cerned regarding  the  appearance  of  gray  hairs  in  his  head.  "I  claim 
to  be,"  he  adds,  "the  only  man  in  Britain  who  can  and  does  restore 
the  color  to  gray  hair.  You  may  visit  Liverpool,  and  if  you  will 
call  I  shall  be  pleased  to  examine  your  scalp  and  give  you  a  candid 
opinion.    If  nothing  can  be  done  I  will  state  so  frankly." 

"Is  there  any  chance,"  writes  Mrs.  Violet  Pain  of  8  Angell-road, 
Brixton,  "of  you  requiring  for  your  films  the  services  of  twin  small 
boys  nearly  4  years  old  and  nearly  indistinguishable?  An  American 
agent  has  recently  been  in  this  neighborhood  and  secured  a  contract 
with  two  such  small  girls  (twins),  which  points  to  at  least  a  demand 
for  such  on  American  films." 

A  widow  of  62  writes:  "I  have  a  half  dozen  china  tea  set  of  the 
late  Queen  Victoria's  diamond  jubilee,  and  it  occurred  to  me  that  you 
might  like  to  possess  it.  If  you  would  call  or  allow  me  to  take  it 
anywhere  for  you  to  see,  I  would  gladly  do  so.  I  have  had  it 
twenty-four  years  and  would  like  to  raise  money  on  it." 

A SOUTH  LONDON  picture  dealer  writes:  "If  ever  you  should 
be  passing  this  way  when  you  are  taking  your  quiet  strolls 
around  London,  I  would  like  you  to  drop  in  and  see  a  picture  that  I 
think  might  interest  you.  It  is  the  Strand  by  night,  painted  by 
Arthur  Grimshaw  in  i  887.  I  hope  you  won't  think  I  have  taken  too 
much  of  a  liberty — but  I  knew  your  mother  when  I  was  in  Kate 
Paradise's  troupe,  and  I  think  she  would  remember  me  if  ever  you 
were  to  mention  Clara  Symonds  of  that  troupe.  It  is  a  little  link 
with  the  past." 

"Dear  Old  Friend:  Some  months  ago  I  wrote  to  you  and  no  doubt 
you  will  remember  me.  I  was  in  'Casey's  Court,'  and,  as  you  know, 
we  had  Mr.  Murray  for  our  boss.  You  have  indeed  got  on  well. 
I  myself  have  only  this  month  come  home  from  being  in  Turkey  for 
eight  years.  Dear  old  boy,  I  should  like  to  see  you  when  you  come 
to  London — that  is,  if  you  do  not  mind  mixing  with  one  of  the  Casey's 
Court  urchins." 

A  Billingshurst  (Sussex)  mother  writes:  "Would  you  grant  a  few 
moments'  interview  to  a  little  girl  of  9  (small  for  her  years),  whom 
I  am  anxious  to  start  on  the  films?    She  has  much  in  her  favor, 


30 


swiy^ooA  SCREENLAND  c*u&™^ 


being  not  only  bright  and  clever,  but  unusually  attractive  in  appear- 
ance, receiving  unlimited  attention  wherever  she  goes,  as  she  is  really 
quite  out  of  the  ordinary." 

A  disengaged  actress  writes:  "If  you  should  take  a  film  in  England, 
it  would  be  a  great  kindness  to  employ  some  of  the  hundreds  of  act- 
resses out  of  work  now  and  with  no  prospects  of  getting  any.  A 
walk-on  would  be  a  very  welcome  change  to  many  of  us  to  say 
nothing  of  a  part." 

A  Bridgewater  resident  owning  a  new  six-cylinder  car  writes:  "A 
friend  of  mine  has  a  very  old  time  spot  right  here  in  Somerset,  with 
the  peacocks  wandering  across  the  well-kept  grounds  and  three  lovely 
trout  ponds,  where  last  night  I  brought  home  five  very  fine  rainbow 
trout  each  weighing  about  one  and  a  half  pounds.  You  will  be  tired 
of  the  crowds.  Slip  away  down  to  me  and  I  will  give  you  ten  days 
or  more  of  the  best  time  you  can  get.  There  will  be  no  side  or  style 
and  your  oldest  clothes  will  be  the  thing." 

"My  husband  and  I  should  consider  it  an  honor  if  during  your 
visit  to  South  London  you  would  call  and  take  a  homely  cup  of  tea 
with  us.  I  read  in  the  paper  of  your  intention  to  stay  at  an  old- 
fashioned  inn,  and  should  like  to  recommend  the  White  Horse  Inn 
at  Sheen,  which,  I  believe,  is  the  oldest  in  Surrey.  It  certainly  corre- 
sponds with  your  ideal.  Welcome  to  your  home  town. — Jean  D. 
Deschamps." 

^'\X/TIEN  you  are  really  tired  of  the  rush  of  London  there  is  a 
»  »  very  nice  little  place  called  Seaford,  not  very  far  from 
London,  just  a  small  place  where  you  can  have  a  real  rest.  No 
dressing  up,  etc.,  and  then  fishing,  golf  and  tennis  if  you  care  for  the 
same.  You  could  put  up  at  an  hotel  or  here.  There  will  be  no  one 
to  worry  you.  Don't  forget  to  drop  us  a  line.  Yours  sincerely,  E.  M.  W." 

A  London  clubman,  in  offering  hospitality,  says:  "I  do  not  know 
you.  You  do  not  know  me  and  probably  don't  want  to.  But  just 
think  it  over  and  come  and  have  a  bit  of  lunch  with  me  one  day. 
This  between  ourselves — no  publicity." 

"Saint  Pancras  Municipal  Officers'  Swimming  Club  would  be 
greatly  honored  by  your  presiding  at  our  annual  swimming  gala  to 
be  held  at  the  St.  Pancras  public  baths." 

Dorothy  Cochrane,  Upper  North  street,  Poplar,  asks:  "Dear  Mr. 
Chaplin,  if  you  have  a  pair  of  your  old  boots  at  home  will  you  throw 
them  at  me  for  luck?" 

An  aspirant  for  the  position  of  secretary  writes:  "I  am  a  musical 
comedy  artist  by  profession,  but  I  am  at  present  out  of  work.  I  am 
six  feet  two  inches  in  height  and  27  years  of  age.  If  there  is  any 
capacity  in  which  you  can  use  my  services  I  shall  be  very  thankful. 
Hoping  you  will  have  an  enjoyable  stay  in  your  home  country." 

A  Barnes  man  writes:  "If  you  have  time  we  should  be  very  proud 
if  you  could  spare  an  afternoon  to  come  to  tea.  We  should  love  to 
give  you  a  real  old-fashioned  Scotch  tea,  if  you  would  care  to  come. 
We  know  how  you  will  be  feted  and  everyone  will  want  you,  but  if 
you  feel  tired  and  want  a  wee  rest  come  out  quietly  to  us.  If  it 
wasn't  for  your  dear  funny  ways  on  the  screen  during  the  war  we 
would  all  have  gone  under." 

"Dear  Charles,"  writes  an  11-year-old,  "I'd  like  to  meet  you  very, 
very  much.  I'd  like  to  meet  you  just  to  say  thank  you  for  all  the 
times  you've  cheered  me  up  when  I've  felt  down  and  miserable.  I've 
never  met  you  and  I  don't  suppose  I  ever  will,  but  you  will  always 
be  my  friend  and  helper.  I'd  love  your  photograph  signed  by  you! 
Are  you  likely  to  come  to  Harrowgate?  I  wish  you  would.  Perhaps 
you  could  come  and  see  me.    Couldn't  you  try?" 

¥  WISH  I  could  read  them  all,  for  in  every  one  there  is  human 
feeling,  and  I  wish  it  were  possible  that  I  could  accept  some  of  the 
invitations,  especially  those  inviting  me  to  quietness  and  solitude. 
But  there  are  thousands  too  many.  Most  of  them  will  have  to  be 
answered  by  my  secretaries,  but  all  of  them  will  be  answered,  and 
we  are  taking  trunkfuls  of  the  letters  back  to  California  in  order  that 
as  many  of  the  requests  as  possible  shall  receive  attention. 

During  the  afternoon  there  came  Donald  Crisp,  Tom  Geraghty 
and  the  bunch,  and  before  long  my  apartment  in  the  London  Ritz 
might  just  as  well  be  home  in  Los  Angeles.  I  realize  that  I  am 
getting  nowhere,  meeting  nobody  and  still  playing  in  Hollywood. 

I  have  traveled  6,000  miles  and  find  I  have  not  shaken  the  dust  of 
Hollywood  from  my  shoes.  I  resent  this.  I  tell  Knobloch  I  must 
meet  other  people  besides  Geraghty  and  the  Hollywood  bunch.  I 
have  seen  as  much  as  I  want  to  see  of  it.   Now  I  want  to  meet  people. 

Knobloch  smiles,  but  he  is  too  kind  to  remind  me  of  my  retreat 
before  the  nameplate  of  Bernard  Shaw.  He  and  I  go  shopping  and 
I  am  measured  for  some  clothes;  then  to  lunch  with  E.  V.  Lucas. 

Lucas  is  the  editor  of  Punch,  England's  foremost  humorous  publica- 
tion. A  very  charming  man,  sympathetic  and  sincere.  He  has 
written  a  number  of  very  good  novels.  It  is  arranged  to  give  me  a 
party  that  night  at  the  Garrick  club. 

After  luncheon  we  visit  Stoll's  theatre,  where  Shoulder  Arms  and 
Mary  Pickford's  picture,  Suds,  are  being  shown.  This  is  my  first 
experience  in  an  English  cinema.  The  opera  house  is  one  that  was 
built  by  Steinhouse  and  then  turned  into  a  movie  theatre. 

It  is  strange  and  odd  to  see  the  English  audience  drinking  tea  and 
eating  pastry  while  watching  the  performance.  I  find  very  little 
difference  in  their  appreciation  of  the  picture.  All  the  points  get 
over  just  the  same  as  in  America.  I  get  out  without  being  recognized 
and  am  very  thankful  for  that. 


Back  to  the  hotel  and  rest  for  the  evening  before  my  dinner  at  the 
Garrick  club. 

T^HE  thought  of  dining  at  the  Garrick  club  brought  up  before  me 
-*•  the  mental  picture  that  I  have  always  carried  of  that  famous  old 
meeting  place  in  London,  where  art  is  most  dignified.  And  the  club 
itself  realized  my  picture  to  the  fullest. 

Tradition  and  custom  are  so  deep  rooted  there  that  I  believe  its 
routine  would  go  on  through  sheer  mechanics  of  spirit,  even  if  its 
various  employees  should  forget  to  show  up  some  day.  The  corners 
seem  almost  peopled  with  the  ghosts  of  Henry  Irving  and  his  com- 
rades. There  in  one  end  of  the  gloomy  old  room  is  a  chair  in  which 
David  Garrick  himself  sat. 

All  those  at  the  dinner  were  well  known  in  art  circles — E.  V.  Lucas, 
Walter  Hackett,  George  Frampton,  J.  M.  Barrie,  Herbert  Hammil| 
Edward  Knobloch,  Harry  Graham,  N.  Nicholas,  Nicholas  D.  Davies 
Squire  Bancroft  and  a  number  of  others  whese  names  I  do  not 
remember. 

What  an  interesting  character  is  Squire  Bancroft.  I  am  told  that 
he  is  England's  oldest  living  actor,  and  he  is  now  retired.  He  does 
not  look  as  though  he  should  retire. 

I  am  late  and  that  adds  to  an  embarrassment  which  started  as  soon 
as  I  knew  I  was  to  meet  Barrie  and  so  many  other  famous  people. 

There  is  Barrie.  He  is  pointed  out  to  me  just  about  the  time  I 
recognized  him  myself.  This  is  my  primary  reason  for  coming.  To 
meet  Barrie.  He  is  a  small  man,  with  a  dark  mustache  and  a  deeply- 
marked,  sad  face,  with  heavily  shadowed  eyes.  But  I  detect  lines  of 
humor  lurking  round  his  mouth.    Cynical?    Not  exactly. 

I  catch  his  eye  and  make  motions  for  us  to  sit  together,  and  then  find 
that  the  party  had  been  planned  that  way  anyhow.  There  is  the 
inevitable  hush  for  introductions.  How  I  hate  it.  Names  are  the 
bane  of  my  existence.    Personalities,  that's  the  thing. 

But  every  one  seems  jovial  except  Barrie.  His  eyes  look  sad  and 
tired.  But  he  brightens  as  though  all  along  there  had  been  that 
hidden  smile  behind  the  mask.  I  wonder  if  they  are  all  friendly 
toward  me,  or  if  I  am  just  the  curiosity  of  the  moment. 

T'HERE  is  an  embarrassing  pause  after  we  have  filed  into  the. 
•*-  dining-room,  which  E.  V.  Lucas  breaks. 
"Gentlemen,  be  seated." 

I  felt  almost  like  a  minstrel  man  and  the  guests  took  their  seats  as 
simultaneously  as  though  rehearsed  for  it. 

I  feel  very  uncomfortable  mentally.  I  cough.  What  shall  I  say 
to  Barrie?  Why  hadn't  I  given  it  some  thought?  I  am  aware  that 
Squire  Bancroft  is  seated  at  my  other  side.  I  feel  as  though  I  am  in 
a  vise  with  its  jaws  closing  as  the  clock  ticks.  Why  did  I  come? 
The  atmosphere  is  so  heavy,  yet  I  am  sure  they  all  "feel  most  hos- 
pitable toward  me. 

I  steal  a  look  at  Squire  Bancroft.  The  old  tragedian  looks  every 
bit  the  eminent  old-school  actor.  The  dignity  and  tradition  of  the 
English  stage  is  written  into  every  line  in  his  face.  I  remember 
Nicholson  having  said  that  the  squire  would  not  go  to  a  "movie," 
that  he  regarded  his  stand  as  a  principle.  Then  why  is  he  here?  He 
is  going  to  be  difficult,  I  fear. 

He  breaks  the  ice  with  the  announcement  that  he  had  been  to  a 
movie  that  day!    Coming  from  him  it  was  almost  a  shock. 

"Mr.  Chaplin,  the  reading  of  the  letter  in  Shoulder  Arms  was  the 
high  spot  of  the  picture."  This  serious  consideration  from  the  man 
who  would  not  go  to  the  movies. 

I  wanted  to  kiss  him.  Then  I  learn  that  he  had  told  every  one  not 
to  say  anything  about  his  not  having  been  to  a  movie  for  fear  that  it 
would  offend  me.  He  leans  over  and  whispers  his  age  and  tells  me 
he  is  the  oldest  member  of  the  club.  He  doesn't  look  within  ten  years 
of  his  age.    I  find  myself  muttering  inanities  in  answering  him. 

r  I  ""HEN  Barrie  tells  me  that  he  is  looking  for  some  one  to  play  Peter 
Pan  and  says  he  wants  me  to  play  it.  He  bowls  me  over  com- 
pletely. To  think  that  I  was  avoiding  and  afraid  to  meet  such  a 
man !  But  I  am  afraid  to  discuss  it  with  him  seriously,  am  on  my 
guard  because  he  may  decide  that  I  know  nothing  about  it  and 
change  his  mind. 

Just  imagine,  Barrie  has  asked  me  to  play  Peter  Pan.  It  is  too  big 
and  grand  to  risk  spoiling  it  by  some  chance  witless  observation,  so  I 
change  the  subject  and  let  this  golden  opportunity  pass.  I  have  failed 
completely  in  my  first  skirmish  with  Barrie. 

One  ruddy  gentleman  whose  occupation  is  a  most  serious  one,  I 
am  told,  that  of  building  a  giant  memorial  in  White  Hall  to  the  dead 
of  the  late  war,  is  reacting  to  the  situation  most  flippantly.  His  con- 
versation, which  has  risen  to  a  pitch  of  almost  hysterical  volume,  is 
most  ridiculously  comic.    He  is  a  delightful  buffoon. 

Everyone  is  laughing  at  his  chatter,  but  nothing  seems  to  be  pene- 
trating my  stupidity,  though  am  carrying  with  me  a  wide  mechanical 
grin,  which  I  broaden  and  narrow  with  the  nuances  of  the  table 
laughter.  I  feel  utterly  out  of  the  picture,  that  I  don't  belong,  that 
there  must  be  something  significant  in  the  bandinage  that  is  bandied 
about  the  board. 

Barrie  is  speaking  again  about  moving  pictures.  I  must  understand. 
I  summon  all  of  my  scattered  faculties  to  bear  upon  what  he  is 
saying.    What  a  peculiarly  shaped  head  he  has. 

He  is  speaking  of  the  Kid,  and  I  feel  that  he  is  trying  to  flatter 
me.    But  how  he  does  it!    He  is  criticizing  the  picture. 


M|yw~A  SCREENLAKD  C«ufi«H 


31 


He  is  very  severe.  He  declares  that  the  The  interviewers  at 
"heaven"  scene  was  entirely  unnecessary  and 

whv  did  I  give  it  so  much  attention?  And  why  so  much  of  the 
motherln  the  picture,  and  why  the  meeting  of  the  mo  er  and  the 
father  ?  All  of  these  things  he  is  discuss.ng  analytically  and  pro- 
foundly, so  much  so  that  1  find  that  my  feeling  of  self-consc.ousness 
is  rapidly  leaving  me. 

T  FIND  myself  giving  my  side  of  the  argument  without  hesitation 
I  because  I  am  not  so  sure  that  Barrie  is  right,  and  I  had  reasons, 
Cood  reasons,  for  wanting  all  those  things  in  the  picture.  But  I  am 
thrUled  at  h  s  interest  and  appreciation  and  it  is  borne  in  upon  me 

hat  by  discussing  dramatic  construction  with  me  he  is  f^JS 
gracious  and  subtle  compliment.  It  is  sweet  of  h.m.  It  relieves  me 
of  the  last  vestige  of  my  embarrassment. 

"But    Sir  James,"  I  am  saying,  "I  cannot  agree  with  you— 
Imagine  "he  metamorphosis.    And  our  discussion  continues ^asily  and 
pleasantly.    I  am  aware  of  his  age  as  he  talks  and  I  get  more  of  his 
soirit  of  whimsicality.  ... 

PThe  food  is  being  served  and  find  that  E  V.  Lucas  has  prodded 
i  treacle  pudding,  a  particular  weakness  of  mine,  to  which  1  do 
justke.    I  am  wondering  if  Barrie  resents  age,  he  who  ,s  so  youthful 

^  There  seems  to  be  lots  of  fun  in  the  general  buffoonery  that  is  going 
on  arcund  the  table,  but  despite  all  efforts  to  the  contrary  I  am  serving 
a  diet  of  silence.  I  feel  very  colorless,  that  the  whole  conversion 
that  is  being  shouted  is  colorless.  ,   ,  \  . 

I  am  a  good  audience.    I  laugh  at  anything  and  dare  not  speak 
Whv  can't  I  be  witty?    Are  they  trying  to  draw  me  out?    Is  it 
Sony      Maybe  I  am  wrong  ana  there  is  a  purpose  behind  this 
buffoonery.    But  I  hardly  know  whether  to  retaliate  in  kind,  or 

jUI  agmdying  for  something  to  happen.   Lucas  is  rising.   We  all  feel 
the  tension.   Why  are  parties  like  that?   It  ends. 

Barrie  is  whispering,  "Let's  go  to  my  apartment  for  a  drink  and  a 
ouiet  talk  "  and  I  begin  to  feel  that  things  are  most  worth  while. 
Slock  and  I  walk  with  him  to  Adelphia  terrace,  where  his  apart- 
ment overlooks  the  Thames  embankment.  \ 

Somehow  his  apartment  seems  just  like  him  but  I  cannot  convey  the 
resernblance  in  a  description  of  it.  The  first  thing  you  see  ,s  a  writing 
desk  in  a  huge  roor/ beautifully  furnished,  and  with  dark  wood 
paneling.  Simplicity  and  comfort  are  written  everywhere. .  There  .s 
a  large  Dutch  fireplace  in  the  right  s.de  of  the  room,  but  the  out- 
standing  piece  of  furniture  is  a  tiny  kitchen  stove  in  one  corner.  It  is 
Sshed  to  such  a  point  that  it  takes  the  aspect  of  the  ornamental 
?a  her  than  the  useful.  He  explains  that  on  this  he  makes  his  tea 
when  servants  are  away.    Such  a  touch,  perhaps,  just  the  touch  to 

SUfur\rikr  drifts  to  the  movies  and  Barrie  tells  me  of  the  plans  for 
filming  Peter  Pan.  We  are  on  very  friendly  ground  ,n  this  discussion 
and  find  myself  giving  Barrie  ideas  for  plays  while  he  is  giving  me 
fdeas  for  movies,  many  of  them  suggestions  that  I  can  use  in  comedies. 

lt^LSZV^t  the  door.    Gerald  DuMaurier  is  calling.  He 


the  Ritz,  London. 


is  one  of  England's  greatest  actors  and  the  son 
of  the  man  who  wrote  Trilby.  Our  party  lasts 
far  into  the  night,  until  about  3  in  the  morning.  I  notice  that  Barrie 
£ks  rather  tifed  and  worn,  so  we  leave,  walking  with  DuMaurier 
up  the  Strand.  He  tells  us  that  Barrie  is  not  himself  since  his 
nephew  was  drowned,  that  he  has  aged  cons.derably. 
We  walk  slowly  back  to  the  hotel  and  to  bed. 

NEXT  day  there  is  a  card  from  Bruce  Brainsfather,  England's 
famous  cartoonist,  whose  work  during  the  war  ^ght  h'm 
international  success,  inviting  me  to  tea  He  carr  e m m°* 
country  where  I  have  a  lovely  time.  His  wife  tells  me  that  he  is 
iust  a  bundle  of  nerves  and  that  he  never  knows  when  to  stop  work  ng. 
Task  what  H.  G.  Wells  is  like  and  Bruce  tells  me  that  he  is  like 
"Wells"  and  no  one  else. 

When  I  get  back  to  the  hotel  there  is  a  letter  from  Wells 
"Do  come  over.  I've  just  discovered  that  you  are  in  town.  Do  you 
waS  to  meet  Shaw?  He  is  really  very  charming  out  of  the  hmelight 
I  suppose  vou  are  overwhelmed  with  invitations,  but  if  there  is  a 
chance  to  get  hold  of  you  for  a  talk,  I  will  be  charmed.  Ho* ;  about  a 
week-end  with  me  at  Easton,  free  from  publicity  and  with  harmless, 
human  people.    No  phones  in  the  house." 

I  lost  no  time  in  accepting  such  an  invitation. 

There  is  a  big  luncheon  party  on  among  my  friends  and  I  am  told 
that  a  party  haf  been  arranged  to  go  through  the  Limehouse  district 
with  Thomas  Burke  who  wrote  Limehouse  Nights  I  resent  .  exceed- 
ingly and  refuse  to  go  with  a  crowd  to  meet  Burke.  I  revolt  against 
the  constant  crowding.    I  hate  crowds.  n<,,v„„s 

London  and  its  experiences  are  telling  on  me  and  I  am  nervous 
and  unstrung.  I  must  see  Burke  and  go  with  him .  alone  He  is  the 
one  man  who  sees  London  through  the  same  kind  of  glasses  as 
myself  I  am  told  that  Burke  will  be  disappointing  because  he  is  so 
silent  but  I  do  not  believe  that  I  will  be  disappointed  in  him. 

Sinson  tells  the  crowd  of  my  feelings  and  how  much  I  have 
planned  on  this  night  alone  with  Burke,  and  the  party  ,s  called  off. 
WeThone  Burke  and  I  make  an  engagement  to  meet  him  at  h,s  home 
that  evening  at  10  o'clock.  We  are  to  spend  the  night  together  in 
Limehouse.   What  a  prospect! 

THAT  night  I  was  at  Thomas  Burke's  ahead  of  time.    The  pros- 
pect of  a  night  spent  in  the  Limehouse  district  with  the  author  of 
Limehouse  Nights  was  as  alluring  as  Christmas  morning  to  a  child 
Burke  L  so  different  from  what  I  expected.    Limehouse  Ntghts  had 
led  me  to    ook  for  some  one  physically,  as  well  as  mentally  big, 
though  I  had  always  pictured  him  as  mild-mannered  and  tremendously 

"Tnotice^eT^wfare  introduced  that  Burke  looks  tired  and  it  is 
hard  to  think  that  this  little  man  with  the  thin,  Peake *  S 
sitive  features  is  the  same  one  who  has  blazed  into  iterature  such 
Sntaffusts,  passions  and  emotions  as  characterize  his  short  stones 
X  to  d  that  he  doesn't  give  out  much.  I  wonder ^Just  who  he  is 
like  He  is  very  curious.  Doesn't  seem  to  be  noticing  anything  that 
^oes  on  aboul  him.  He  just  sits  with  his  arm  to  his  face,  leaning  on 
K/and  gazing  into'  the  fire.  .  As  he  sits  there,  -VJ^J^ 
turbed  and  indifferent,  I  am  warming  up  (Continued  on  Fage  30. J 


32 


Hajrwoci  SCREEKLAND  Caiii^ 


W 


C 


A  Life  History  of  a  Photoplay 

By  MELVIN  M. 


CHAPTER  XIII 

Portrayal 
HAT  is  screen  technique? 

Screen  technique,  accord- 
ing to  Miss  Swanson,  star 
of  Beyond  the  Roch,  is  the  art-science 
of  pantomimic  expression,  whereby 
thought  is  conveyed  by  the  actions 
and  expressions  of  the  player  to  the 
audience.  It  is  an  art  because  the 
good  actor  or  actress,  like  the  artist 

knowledge  of  the  pr,„cipleS  which  govern  its  co  rect Sy  ct'  *"'",  k^,"  ^  camera.     In  ,„ 

One  of  ,he  fundamental  laws  in  the  expression  Ili  S^Tf  .■  '  be.br":/lS'  dis™ssed  this  wonderful  invention  and 
wKftftSES  £  US  ^f*™ WoS  »  <"=  —  ™  ^ve  studied  in  its"var™s 

poetically  te^"srii7t"SP  "jjfe*  ^  h,T°  b^'."  *e  camera  served  as  the  seed  of  a  remark 

had  they  not  been  timed  correctly.   When  Md  3  Study  °f  ^  various  conditions  of  photographic  lighring 


-   « 

had  they  not  been  timed  correctly.  When 
Bracondale  makes  his  emotional  love  plea 
to  lheodora,  and  she  falteringly  remon- 
strates, he  replies  with  still  more  ardent 
pleas  and  she  yields  to  his  embrace— just 
so  much  time  or  screen  space  must  elapse 
between  each  of  these  four  emotional  high 
lights  in  order  that  the  audience  may  grasp 
the  full  effect  of  each.    They  must  not  be 
jumbled  or  run  together.    Nor  must  too 
much  space  intervene  to  weaken  the  psy- 
chological strength  of  the  idea.   To  gauge 


yJCTlNG,  photography,  lighting 
-* and  the  junctions  of  a  studio 
laboratory  are  explained- in  this  install- 
went  of  a  "close-up"  study  of  Elinor 
Glyns  BEYOND  THE  ROCKSl 
Avoidance  of  technical  terms  makes 
these    articles  particularly 


'  .—  .j.  popular 

this  spacing  properly  is  one  of  the  laws  of     7'°"/  Wk°  W  lon9  won^        1,1   Photographing   this   picture  Mr 

screen  technique.    Get  one  idea  over  and     Zn  ttt      A™**  ft  -f  C00Jdin^  ^employed  all  the  various  gener'al  poS 

let  it  "soak  in"  w.VK  A.  t.  ,         "°»  that  ts  demanded  tn  a  finished  abilities  of  the  camera  such  Is  fadei™ 

photoplay.  (-J  -  • 


screen  technique 

let  it    soak  in    with  the  audience  before 
presenting  the  next.    It  is  interesting  to 
observe  this  scene  in  the  picture  to  detect 
timing. 

And  now  we  come  to  another  keynote 

to  £f  hifi0nism  °r  Scree»  techni>e-    How  is  one 

to  know  just  how  best  to  express  these  certain  ideas  that  are 

IL\ b\C°ZCyed  3nd  [USt  the  exa«  amount  of  space  or  time 
that  should  separate  them? 

The  player,  Miss  Swanson  explains,  must  lose  himself  in 
the  characters  which  he  portrays. 

Gloria  Swanson  ceases  to  be  Gloria  Swanson  with  the  be- 
ginning of  work  on  Beyond  the  Roch  and  becomes  Theodora 

tt^;  ofVo"y»/,Rudo,ph  VaIentino  ™>hly 

FrotTi^  foundatio"  Gf  a"  Physical  expression. 

*rom  a  thought  emanates  the  physical  manifestations  identi- 
fying that  thought  and  of  which  it  is  the  neucleus-the  con- 
trolling energy,  the  life  spark. 


composition  and  angles  under  which  the 
best  and  most  desired  results  can  be  ob- 
tained has  created  the  trained  expert  oper- 
ator known  as  the  cameraman. 

The  camera  artist— and  artist  is  a  term 
that  can  be  advisedly  used  in  this  connec- 
tion—-who  photographed  Beyond  the 
Rocks  is  Alfred  Gilks,  who  has  served  in 
this  capacity  during  the  production  of 
every  Paramount  picture  directed  by  Sam 
Wood. 

In   photographing   this  picture,  Mr. 


To  overcome  the  difficulties  arising  from  lack  of  chrono  Sal^V  *T.  °'  'a'  P'"yer  °' ,pl,ayOT  in  such  a  '"TO  f°™ 
fed  seouence  of  scenes,  the  pUyerLst  k£toJ£Z    ^tSTtlS^TSJi^  S»»«  - 


i    •    ,  ;  "vu,uu  «"«smg  irom  lacic  ot  chrono- 

ogical  sequence  of  scenes,  the  player  must  keep  his  character 

sceTffrsJr  ^  a"  timCS'  eVe"  th°U^h  he  fiIms  h*  lS 

If  he  is  thoroughly  imbued  with  the  character  he  is  playing, 
he  will  act  as  that  character  would  naturally  act  at  all  times 
and  under  all  conditions,  and  at  the  same  time  will  reahVe 
just  how  that  character  would  be  affected  bV  certain  ideal  or 
£S? L*"  correctSique^ 


rade-outs,  visions,  etc.,  as  will  be  observed 
by  any  audience  watching  the  picture. 
Upon  the  various  distances  from  the  cam- 
era lens  to  the  action  in  progress  in  a 
scene  depend  the  designations  known  as 
c  ose-ups,  semi-close-ups,  long  shots,  inserts,  and  a  study  of  the 
Picture  as  it  is  projected,  will  also  illustrate  these  various 
camera  angles  as  here  explained. 

The  long  shot  is  a  scene  in  Avhich  the  camera  is  set  up  some 
distance^  from  the  characters.  Such  a  shot  or  scene  generaHv 
shows  the  entire  setting  and  establishes  the  background  in  the 
mind,  of  the  audience  Then  as  the  action  progresses,  the 
camera  is  moved  up  closer  to  the  characters,  often  dividing 

tT.t!  f  °nS*  I"*  Sh°wing  the  action  of  onl>'  one  or  twoT 
and  then  refocussed  to  record  what  another  faction  is  doing 
and  the  effect  of  the  action  of  the  first  on  the  second,  and 

to  lens  and'  "  *  T  CLl0SCr  ™&  fr°m  chara«ers 

to  lens  and  generally  shows  only  the  face  or  part  of  the  figure 

or  figures  or  one  or  more  players.    The  close-up  is  very  often 

limited  to  one  or  at  the  most  two  figures  or  players,  and  ore- 


~,    — ..«a«.aajr  a.viiiy  me  correct  technioue  anH  ,t  — *  ;  ■  anU  uwnd  dwan- 

give  the  proper  amount  of  spacing  between  the  ideas  jessed     cW  L      ?    T  7°  "T^  At  camera'  has  been  moved  UP 

meas  expressed,     closer  so  as  to  include  only  these  two  characters  within  the 


... — «M-wwn»  ui  mac  piayer  or  pl£ 
more  readily  discernible  to  the  minds  of  the  audience 

Illustrating  these  various  camera  angles  are  the  scenes  in  the 
Versailles  Gardens.  The  sequence  opens  with  a  long  shot 
establishing  the  entire  vision  scene  in  the  gardens,  showing  the 
court  of  Louis  XV  promenading  through  the  garden.  Two 
of  the  characters  sit  on  a  stone  bench.  The  scene  ends  and  is 
immediately  followed  by  a  closer-up  scene  of  these  two  char- 
acters, which  prove  to  be  Rodolph  Valentino  and  Gloria  Swan- 
son.   Between  these  two  scenes,  the  camera  has  been  moved  up 


HJiy^A  SCREENLAND  C»hG«h 


33 


Eli 


mor 


Gi 


yn 


This  moonlight  effect  is 
gained  by  the  use  of  the 
Sun  Arc. 


RIDDLE 


scope  of  the  focus.  Then  there  are  yet 
closer-up  scenes  as  Valentino  makes  love  to 
Swanson,  followed  by  individual  close-ups 
of  each,  as  each  expresses  the  tension  and 
passion  of  the  moment  and  reveals  what  is 
taking  place  within  the  heart  and  soul  or 
the  character.  Then  the  setting  goes  back 
to  a  series  of  longer  shots  perhaps,  continu- 
ing with  the  general  action. 

TV  insert  is  a  close  view  of  some  object 
or  property  in  the  picture,  such  as  a  photo- 
<n-aph,  a  letter  or  other  article  necessary  or 
important  to  the  plot  of  the  story  1  he 
letter  which  Theodora  writes  to  Lord  Bra- 
condale  and  which  is  received  through  the 
machinations  of  a  jealous  woman  by  Jostah 
Broivn,  Theodora's  husband,  is  flashed  upon 
the  screen  in  such  large  form  that  it  may 
easily  be  read  by  the  audience.  1  his  is 
known  as  an  "insert." 

The  cameraman  supervised  the  lighting 
of  all  the  scenes  for  the  picture,  for  to  the 
varying  degrees  and  intensities  of  the  light 
are  due  an  important  share  of  the  psycho- 
logical and  dramatic  effect  of  the  scenes  and 
the  ideas  thereby  conveyed. 

CHAPTER  XV 
Photographic  Illumination 
ARTIFICIAL  illumination  in  motion  picture  photography 
Ahas  become  the  order  of  the  day,  replacing  the  early  de- 
pendence on  the  sun.  In  the  present  advanced  stage  of  produc- 
don  artificial  illumination  is  a  necessity  to  the  many  effects 
and 'the  smooth  even  lighting  now  secured. 

In  a  discussion  of  photographic  Mum.nat.on  let  us  observe 
lust  what  effects  are  wanted  by  the  cameraman  and  electri- 
cians and  then  show  the  various  kinds  of  lighting  parapher- 
nalia'employed  to  obtain  these  effects. 

I,i  the  first  place,  a  prime,  flat  even  illumination  of  the 
setting  is  necessary.  At  the  Paramount  studio  where  Beyond 
fa  Rocks  was  filmed,  the  Klieglight  system  of  illumination  ,s 
ed  Big  double  Klieglights  furnish  this  prime  illumination, 
lie  consist  of  a  carbon  arc  with  dulled  reflectors  and  he 
light  is  diffused  through  ribbed  glass  or  semi-opaque  silk  cur- 
tun  diffusers.  These  spread  the  light  out  evenly  cutting  out 
sharp f  rays  and  producing  a  soft,  even  light,  rich  in  actinic  or 

^witht^et  lighted  with  this  prime  light,  it  will  be 
found  that  a  need  arises  for  another  more  penetrating  light 
beam,  to  be  focused  on  the  various  principals  to ,  give  better 
perspective  and  make  them  look  more  lifelike.  Otherwise  the 
characters  will  blend  in  flat  against  the  backgrounds  and  per 
spective  will  be  lost.  To  meet  this  need  the  spotlight  ,s  used. 
These  are  arrayed  up  on  the  top  of  the  wall  of  the  set  and 
focussed  down  on  the  heads  of  Mr.  Valentino  Miss  Swanson 
and  other  players.  The  rays  from  the  spotlight  are  more  con- 
densed and  direct  than  the  even  light  from  the  prime  Kheg- 

hgFor  sunlight  and  moonlight  effect,  the  big  Sun  Arcs  or 


General  Electric  searchlights  are  used  These  are  mammouth 
lights  with  powerful  reflectors  and  throw  a  beam  w^««J 
strong  to  stand  out  in  contrast  to  the  even  lighting  of  the  flat 

^t^S^  for  this  lighting  is  supplied  through 
an  extensive  wiring  system,  connected  to  the .stages  bj 'safety 
wall  switch  boxes.  Cables  are  plugged  to  these  switch  boxes 
and  connect  with  a  portable  sw  tchboard,  large  enough  to 
accommodate  all  the  lighting  equipment  for  an  average :  wed 
setting  The  wiring  system  connects  with  the  studio  electrical 
plant  which  consists  of  several  large  generators,  recently  in- 
1 1  led  a  set  of  large  transformers,  a  twenty-three  hundred- 
volt  board,  a  low  tension  switchboard  and  other  equipment 

For  the  night  scenes  away  from  the  studio,  the  equipment 
includes  a  mammoth  portable  generator  plant,  mounted ^on  a 
large  automobile  truck.  This  plant  is  taken  right  t .the  spo 
where  the  exterior  night  scenes  are  to  be  made  and  there  gener- 
ates the  current  for  the  lights  in  as  large  quantities  as  needed. 

Some  of  the  properties  of  the  picture  involve  unique  lighting 
arrangments.  For  instance,  the  fires  m  the  grates  in  the  set 
ring™  where  such  are  seen  are  illuminated  from  a  conceal  d 
rbon  arc  or  set  of  carbon  arcs.  The  »«^*{™  ^ 
not  register  like  flame  on  the  screen,  but  would  be  dark 
photogShically,  because  of  the  low  actinic  value  of  ye  low 
flame  But  these  flames,  when  illuminated  by  the  blue  light 
from  the  carbon  arc,  photograph  perfectly. 

sTand  lamps  and  other  lighting  properties  -d  ^ce^re 
also  fitted  up  with  carbon  arcs  in  the  place  of  incandescent 
h  dbs  as  the Tattlr  would  not  give  out  a  light  sufficiently  strong 
^  conTralt  to Te  prime  set  lighting,  to  register  in  the  eye  of 
the  camera. 


34 


CHAPTER  XVI 
In  the  Laboratory 
INHERE  are  three  steps  in  motion  picture  photography. 
1  ^  are  th«  actual  exposure  of  the  film,  the  develop- 

C  theorat  ner  Ve  fi,m'  ^  ™  °f  ^ 
irom  the  original  negative. 

It  is  the  work  of  the  laboratory  to  take  our  picture  through 
the  second  and  third  or  chemical  stages  just  mentioned. 

-Mrst,  let  us  understand  perfectly,  just  what  negative  and 
po-ve  film  are.  Negative  film  is  that  which  is  passed  th  ough 
camera  and  exposed,  recording  the  scenes  as  enacted  by  the 
Players,  and  corresponds  to  the  negative  of  a  photograph  o 
kodak  n     ho      Positive  m  k  that  wh.ch  .         fe/h  or 

he  negative,  and  projected  upon  the  screen  through  a  proje" 
t,o„  machine.  This  type  of  film  corresponds  to  the  paper 
Photograph  or  kodak  print,  except  that  in  substance  it  is  film 
instead  of  paper,  so  that  when  projected  it  will  be  reflected  £ 
a  magnified  fn™      *K   ■          .  vhc^icu  in 


SCREENLAND 


tZ  T  1  T  rolk  In  dart  ™TO  th-  ">'k  are  passed 
through  a  developing  and  then  a  fixing  „uid  and  areTn 

Th!  r  reVOlVi"g  dn""S  ™  "hich  **  A-  «  wound 

The  developed  negattve  is  then  placed  in  direct  contact  ™* 

posmve  is  then  pu,  through  developing  and  fixin„  bathsP. 
manner  s,n,,.ar  ,„  ,he  negative.    The  positive  is  rt  ,  wound 
on  racb  and  d.pped  in  large  ,a„ls  „,  the  proper  colo  J2* 
winch  have  been  designated  a,  the  end  of  each  scene  by  "he 
key  number  plate  which  has  been  photographed  right  on  to  he 
end  of  the  scene.  These  tints  include  amber,  blue,  red  «c  and 
act  as  an  agency  ,„  increase  the  psychological  'efftt    f'  ,h 
scene.    A  mgh,  scene,  for  instance,  is  tinted  blue  and  when 
Pieced  upon  the  screen  a  better  nigh,  effect  is  obtained  A 
*ene  mvolvmg  a  fire  is  tinted  red,  and  this  general  tint  „  ,fie 
enftre  scene  hetghtens  the  effect  upon  an  audience. 

i^STlit  *t  "T?  °"  '«*  drums  and 


Each  day  the  cameraman  took  th,  ?      u                 '  Madam  Gly"'  Miss  Swanso">  Mr.  Valen- 

upon  which  seen*  l^^^TSS!^  °f  the  Staff  ^        of  pr  „ 

registered  and  delivered  these  "pals,  assemble  in  the  projection  room  and  view  on  the  screen 

takes"   to   the   laboratory,  these  scenes  made  the  foregoing  dav    The  xZ*     T  ? 

which  then  began  its  worT  -es  his  approval  or  61^^^^^. 


Let  us  observe  the  various 
operations  on  this  negative 
film  as  it  makes  its 
way   through  the 
laboratory. 

The  negative 
goes  into  the 
laboratory  in 


' ' — ****  "*  scenes.  If  he  doesn't 
like  a  certain  scene,  he  stages  what  is  known  as  a  "retake"  of 
that  scene  and  discards  the  one  already  made.  He  also  passe, 
upon  the  quality  of  the  printing,  etc.  P 

th,?' ^r'^^"  "egatlVe  ,S  St°red  in  a  vauI<  served  for 
hat  particular  picture.   When  photographing  is  all  completed 
the  director  takes  all  the  positive  scenes  and,  guided  by  the 
key  numbers,  corresponding  to  the  scene  numbers  in  the 
scenano,  and  photographed  on  the  end  of  each  scene,  assembles 
the  many  scenes  ,nto  one  continuous  strip.    When  this  fw 
print  has  been  cut  and  titled  and  is  in  its  final,  completed" 
shape  ,t  ,s  used  as  a  guide  for  cutting  the  negative  film 
and  from  this  completed  negative  as  many  prints 
of  the  p,cture  as  are  needed   for  distribution 
throughout  the  country,  are  struck. 

Within  the  laboratory  are  several  girl  operators 
who  project  all  positive  film  on  a  tiny  screen  and 
observe  and  mark  all  flaws,  scratches,  bad  prints 
and  other  defects  in  the  film.  All  such  defects  are 
removed  and  new  positives  made  to  substitute 
therefor.    The  film  is  then  highly  polished. 

The  time  generally  consumed  to  put  a  strip  of 
him  through  all  the  laboratory  processes  and  de- 
liver it  to  the  director,  for  projection,  is  about  two 
hours,  but  in  cases  of  emergency  or  rush,  the  film 
can  be  put  through  in  one  hour. 

Next  month  Mr.  Riddle  will  explain 
interesting  phases  of  film  exploitation 
tn  his  concluding  installment  of  this 
series  of  articles. 


tCherbflame;T'S*  h,dde"  ^"'^  *he  '°9S'  "'^inate 


"•^Jy^ooA  SCREENLAND  CaiiiS. 


35 


Confessions 

of  a 

STAR 
INTERVIEWER 

By 

AN  UNREPENTANT  ONE 


WHEN  I  was  four  years  old,  I  knew  every  blessed 
letter  in  the  alphabet.  Consequently,  my  proud 
family  prepared  me  for  a  literary  career.  But  alas! 
The  bend  of  the  twig  does  not  guide  the  growth  of  the  tree. 
Because  I  am  twenty-something  years  old  and  I  have  never 
"put  across"  a  real  story.  Nearly  every  fiction  editor  in 
America  has  rejected  my  manuscripts. 

So,  I  may  not  be  a  great  author — yet,  at  least.  But  I  do 
lay  proud  claim  to  this  fact:  I  am  a  practical  opportunist. 
For  every  plot  that  the  fiction  editors 

sent  back  to  me  I  have  "dressed  up"   

and  I  have  sold  and  re-sold  them  to  the  ».n  ,....,,.,.„.,.,.„.,„.„.,,. 
movie  magazines  as  interviews! 

My  ethical  conscience  doesn't  keep 
me  awake  night,  either.  I  am  not 
doing  any  harm.  It  is  wrong  to  write 
deceitful  news,  but  my  little  imagina- 
tive anecdotes  of  screen  celebrities — 
gee,  they  don't  hurt  anybody.  Inter- 
views give  the  stars  good  publicity  and  ■  .....,,.„.,.,,.  ,«....,» 
they  entertain  the  readers.  So  remorse 
doesn't  urg2  me  to  "confess"  thus.  It's 

the  good  old-fashioned  greenback  that  calls  to  me.  Another 
payment  on  my  shiny,  new  coupe  is  due  next  week  and  every 
little  bit  helps. 

Some  of  my  colleagues — other  interviewers — would  call  me 
a  Judas  if  they  knew  I  was  bawling  out  the  "profesh"  this  way. 
But  what's  the  difference?  Nothing  will  kill  the  interview 
market.  There's  a  daily  crop  of  poor  dears  who  eat  'em  up — 
honeyed  words  and  elemental  platitudes  and  all. 

Do  not  get  the  idea  that  interviewers  are  utter  knotheads. 
A  good  interviewer  must  have  ideas.  Somebody  has  to  have 
'em  and  the  stars  are  too  busy. 

So  I  buzz  around  in  my  little  old  Lizzie  and  watch  the 
barometer  of  the  stars'  popularity  ebb  and  flow — (always  al- 
lowing that  barometers  ebb  and  How).  Sometimes  I  meet  and 
talk  with  a  star  in  the  flesh.   Other  times  I  get  an  earful  from 


TLX  ERE  is  an  article  by  a  girl  who 
admits  she  failed  In  literature. 
But  she  is  making  good  at  interview- 
ing. Her  contribution  is  one  of  the 
most  unusual  that  has  appeared  in 
jthis  remarkable  series. 


their  publicity  men.  Then  I  doll  up  the  facts,  sprinkle  in 
some  fancy  paragraphs  from  my  turned-down  fiction  stories, 
and  lo — another  interview! 

I  have  to  pick  on  popular  stars.  An  interview  with  a  dud 
isn't  worth  a  nickel.  It  isn't  so  much  what  we  write  as  who 
we  write  about  that  brings  the  pretty  checks  to  the  old  mail 
box.  Of  course,  when  a  star  like  Valentino  is  interviewed  so 
much,  we  have  to  scratch  deep  to  find  something  to  tell  the 
waiting  fans. 

There  is  a  reason  why  we  inter- 

  viewers  sometimes  spin  a  yarn  about  a 

•  >m<* ■»"» .».«..».■»..» player  although  we  may  never  have 

seen  him.   There  are  many  demands  on 
their  time.    Always  a  throng  of  sensa- 
tion-hunters surround  a  star,  in  public. 
One  has  to  have  an  especially  good 
line  to  stand  out  in  the  crowd. 

I  saw  Ethel  Clayton  at  an  afternoon 
reception.    It  was  too  good  a  chance 
...........  .,,.,,.„..„.  ,H        to  pass  up.  I  went  over  to  her,  perched 

on  the  arm  of  her  chair  and  told  her  I 
was  from  Screenland  and  that  I 
wanted  an  interview.  She  was  just  as  sweet  as  she  could  be. 
I  said  Screenland  because  it  popped  into  my  head  first  and  I 
wanted  to  identify  myself  somehow  to  make  the  required  im- 
pression. I  had  a  lovely  talk  with  Miss  Clayton,  but,  darn  it, 
Screenland  rejected  the  interview. 

My  family  is  awfully  proud  of  me.  They  are  coming  out 
to  Los  Angeles  next  winter  to  live  and  I  suppose  the  good  an- 
cestor will  want  to  shake  hands  with  Doug  Fairbanks  and  my 
kid  brother  will  want  to  be  Chaplin's  next  Jackie  Coogan,  and 
mother  will  ask  me  all  sorts  of  questions  about  the  "celebs" 
that  I  shan't  be  able  to  answer.  I'll  have  to  polish  up  on  some 
of  this  gossip  stuff.  I  swear  I  don't  know  the  color  of  Gloria 
Swanson's  eyes  and  I  have  to  admit  that  I  can't  remember 
whether  Wesley  Barry  has  ever  been  married  or  knot.  (My, 
what  a  sense  of  humor  that  woman  has !) 


Hollywood-  SCREENL&ND  Caii£»i» 


Will  some  gentle  reader  please  explain  to  me  the  mysteri- 
ous appeal  of  stagecraft?  Why  are  actors  and  actresses  re- 
garded as  curious?  Surely,  their  calling  is  no  more  spectacu- 
lar than  many  other  callings — not  half  so  exciting  and  dan- 
gerous as  some. 

I  wonder  if  you  follow  me?  Here's  an  anecdote  to  explain 
what  I  mean: 

House  Peters,  the  leading  man,  is  an  old-time  trouper 
who  visited  nearly  every 
part  of  the  world  before 
he  came  to  the  movies. 
I  met  him  one  day  in  his 
dressing  room.  He  was 
affable  as  could  be  and 
began  to  tell  me  about  the 
good  old  days  on  the  gaso- 
line circuit. 

"I  worked  my  passage 
from  Melbourne  to  Liver- 


know.  But  I  have  an  ambition.  I  do  not  want  to  be  an  inter- 
viewer forever.  I'm  saving  my  money — yes,  even  in  Holly- 
wood— and  little  Georgia  W.  me  is  going  to  look  in  the  book- 
store windows  some  day  and  see  her  name  on  a  best  seller. 
My  imagination  is  getting  more  limber  all  the  time  and  some 
of  these  days  I'm  going  to  blossom  out  as  a  regular  writer. 
All  I  need  is  a  bank  account  to  support  the  rejection  slips  for 
a  few  moons.  I  am  studying  Spanish,  you  know.  I  am  going  to 

Mexico  and  wear  a  skirt 
of  Mexican  jumping  beans 
and  come  back  all  soaked 
up  with  atmosphere.  I 
think  that  the  dawning 
trade  boom  with  Mexico 
will  make  that  piece  of  the 
map  the  next  big  fertile 
fiction  field.  The  North- 
west and  the  South  Seas 
are    about   worked  out, 


pool  one  season  by  shell- 
ing peas,"  he  admitted, 
with  a  reminiscent 
chuckle.  Well,  I  wrote 
the  story  about  House 
Peters  shelling  his  way 
across  the  deep  blue  sea 
and  the  yarn  made  a  hit. 
Great  stuff.  Ha! 

But  why  should  the 
world  be  spellbound  be- 
cause H.  Peters  once  shelled  peas  ?  I  have  a  big  brother  who  is 
as  popular  a  traveling  salesman  who  ever  bunked  on  a  sample 
table.  He  has  hundreds  of  friends — in  every  tank  town  be- 
tween San  Francisco  and  Boston.  But  he  could  shell  peas  until 
he  was  black  in  the  face  and  not  a  line  of  it  would  get  in  the 
papers.  Nobody  would  get  a  kick  out  of  it  even  if  some  nut 
editor  would  print  it.   What's  the  answer,  will  you  tell  me? 

I  am  making  more  money  than  any  girl  of  my  age  that  I 


"I  told  Ethel  Clayton  that  I  was  from  SCREENLAND  and 
she  was  just  as  sweet  as  she  could  be.  I  had  a  lovely 
talk  with  her.  But,  darn  it,  SCREENLAND  rejected  the 
interview!"  —Photo  by  Melbourne  Spurr. 


don't  you  think? 

P.  S.— Something  tells 
me  that  to  give  this  little 
confession  of  mine  the 
proper  feminine  touch 
that  I  must  add  a  post- 
script. Since  writing  the 
preceding,  I  paused  at  a 
newsstand  to  look  over  the 
week's  crop  of  new  is- 
sues. (I  told  you  I  was 
saving  my  money,  you  know.)  And  I  saw  two  stories  about 
stars,  in  big,  national  magazines — not  movie  magazines, 
either —  that  were  written  by  the  stars'  press  agents!  Nearly 
everything  that  is  printed  uses  movie  articles  now.  The 
Saturday  Evening  Post  is  full  of  it  and  the  Ladies  Home 
Journal  and  a  dozen  others.  Maybe  there's  a  chance  for  me 
to  become  a  real  writer  by  staying  right  where  I  am.  Maybe 
I  won't  go  to  Mexico,  after  all. 


"^WoA  SCREENLAND  C»uft™% 


37 


OPIE  READ  VISITS 
THE  SET 


The  great 
novelist  gets 
acquainted 
with 
Doug* 
Fairbc 


OPIE  READ  said: 
"You  know,  I  have  always  found  in  meeting  famous 
people  that  the  truly  great  ones  are  marked  by  an  utter 
simplicity  of  manner.  Doug  hasn't  a  bit  of  vanity. 
I  have  never  met  a  more  wholesome  personality.  I  have 
never  been  any  place  where  I  felt  more  at  home." 


DOUGLAS  FAIRBANKS  said: 
"Gee,  that's  a  Man !  Did  you  ever  see 
such  simplicity  of  manner  and  such  a 
delightful,  personality?  No  wonder  I 
always  enjoy  his  books.  I  wish  I 
could  have  had  more  time  with  him." 


Overheard  by   M.    LEWIS  RUSSELL 


THE  silver  and  blue  spires  of  Nottingham  Village,  its 
quaint  houses  and  fascinating  nooks,  always  intrigue 
my  fancy;  once  upon  its  cobbled  streets  in  the  shadow 
of  its  moss-cbvcred  walls,  I  am  lost  in  the  maze  of  medieval 
dreams.  I  had  wandered  into  a  picturesque  inn,  its  three- 
legged  stools  and  queer  little  tables  all  wary  after  the  excite- 
ment of  an  hour  before.  I  climbed  a  narrow,  twisting  stair 
that  wound  right  into  the  wall— a  wall  with  grotesque,  bar- 
baric sketchings  on  its  stones — and  then,  through  a  window- 
slit  I  looked  down,  at  the  sound  of  voices,  and — saw  them ! 

They  were  standing  before  a  huge  forge,  whereon  a  mighty 
blacksmith  mended  a  heavy  suit  of  mail.  (The  atmosphere  of 
Anglo-Saxon  days  so  permeates  that  village  and  my  associa- 
tions with  it,  that  even  when  I  write  about  it  I  fain  would  slip 
back  into  the  vernacular  of  Friar  Tuck!) 

Before  the  forge  stood  Douglas  Fairbanks,  the  Earl  of 
Huntingdon,  and  with  him  his  honored  guest — Opie  Read! 
Mrs.  Read  was  there,  too — I  used  to  know  the  Reads — and  I 
was  just  in  time  to  hear  him  say  to  her,  "Just  look  at  the 
weight  of  that  iron  bar — and  see  here — this  armor  is  the  real 
stuff!" 

"Like  it?"  asked  Doug.  "For  men  engaged  in  riding  com- 
bats we  have  lighter  Suits — a  combination  of  hemp  and  metal 
that  gives  them  more  freedom — see,  here  is  one." 

"Now  that  is  wonderful  stuff— that  is  real  art.  It  takes 
more  art  to  create  such  materials  than  it  took  to  create  these 
clumsy,  heavy  protectors! — I  feel  just  like  I  was  back  in  the 
middle  ages — .  You  know,  you  have  produced  a  remarkable 
atmosphere  here.  Why  that  huge  iron-barred  door  to  the  inn 
is  big  and  heavy  enough  for  the  sternest  castle !" 

Doug  must  have  enjoyed  the  sincerity  of  these  comments. 
He  turned  and  led  the  way  across  the  lot,  over  a  draw-bridge, 
into  the  castle  itself. 


These  sets  always  take  my  breath  away — so  I  was  not  sur- 
prised by  their  effect  on  Opie  Read.  He  stopped,  and  gazed 
spell-bound.  No  words  could  have  paid  higher  tribute  to  the 
beauty  and  grandeur  of  the  architecture  before  him.  But 
Opie  Read  could  not  be  silent  long! 

"How  big  are  those  columns,  anyway?"  he  cried. 

"Twelve  feet  around,  sixty  feet  high  to  the  capitals,  with  a 
ceiling  one  hundred  and  sixty  feet  high.  This  hall  is  over 
six  hundred  feet  long  " 

"I've  been  in  lots  of  studios,  but  I  never  saw  as  big  a  set  as 
this,"  exclaimed  the  veteran  writer  and  lecturer.  "Did  you 
copy  any  special  castle  ?" 

"No.  No  ancient  castle  now  standing  in  England  would 
serve  here.  They  are  too  modern.  And  we  did  not  want  a 
castle  stone  for  stone  like  any  specific  castle,  anyway,"  Doug 
responded. 

"You  see,"  he  went  on,  observing  the  understanding  glance 
of  Opie  Read,  "since  Robin  Hood  embodies  the  spirit  of 
chivalry,  this  castle  should  be  emblematic  of  chivalry — im- 
mense in  size — a  fitting  residence  for  Richard  the  Lion- 
hearted  —  substantial,  immensely  so,  yet  suggestive  of  an 
elusive,  fairy  quality." 

"You  got  it!" 

"Good!  Glad  you  think  so!  Come  on  over  and  meet  my 
director,  Mr.  Dwan,  Mrs.  Woods  and  Dr.  Woods — now 
we'll  go  over  to  the  art  department." 

Carpenters  and  "props"  were  working  all  around  us;  as 
they  passed  it  was,  "  'lo  Doug,"  "Say,  Doug,  lookit  this  a 
minute,"  "Gonna  be  back,  Doug?" 

We  went  over  to  the  art  shop,  passing  through  great  arch- 
ways and  under  velvet-draped  castle  balconies.  Wilfred  Buck- 
land  was  not  there,  but  Irving  Martin  was,  and  he  showed  us 
black-and-white  paintings  that  resembled  Maxfield  Parrish 
pictures  in  their  idealized  (Continued  on  Page  62.) 


Hollywood.  SCREENLAND  C»li£«»i» 


e 


LOVE  PIRATE 

<3  musteiru.  tdle  told  bq  tqe 
STARS 

WHAT  would  you  do  if  you  were  director  of  a  motion  picture 
company  on  an  uninhabited  island  "location,"  and  the  beautiful 
girl  star  and  the  leading  man  disappeared?  This  is  the  situation  that 
confronts  Mortimer  Grattan  (Thomas  Meighan)  in  this  mystery  story 
told  by  the  stars.  Betty  Compson,  Thomas  Meighan  and  Eddie  Suther- 
land, with  other  Paramount  players,  also  have  illustrated  their  story 
with  posed  photographs,  as  the  characters  they  describe.  Frank  X. 
Finnegan,  Paramount  title  writer  and  well-known  novelist,  began  this 
tale  and  the  concluding  installment  by  him  will  appear  in  SCREEN- 
LAND  next  month. 


'You  gave  Trues- 


CHAPTER  VII 
The  Cave  Girl 

BACK  at  camp,  Grattan  and  the  others  waited  through 
the  night  with  the  hope  of  Truesdale's  return. 
With  the  arrival  of  daylight,  the  director  called 
Tom  and  "Hap"  to  him  and  said: 

"This  can't  go  on — we've  got  to  do  something." 
"I  should  say  so,"  declared  Tom. 

"But  what  will  we  do?"  asked  "Hap. 
dale  a  chance  to  play  a  lone  hand  and 
he  may  be  succeeding — or  maybe  he's 
been  caught  in  the  trap.    I'm  for  any- 
thing that  will  solve  this  mystery  " 

"Someone  must  stay  here,"  decided 
Grattan.  "A  vessel  of  some  kind  may 
pass  and  see  the  signal  I've  rigged  up. 
We  must  not  take  a  chance  of  missing 
it.  At  the  same  time  I  hate  to  leave 
only  one  man  with  Eleanor." 

"I'll  tell  you,"  cried  the  girl  emerg- 
ing at  that  moment  from  the  tent,  "take 
me  along  and  leave  one  of  the  boys 
here— I'd  much  rather  be  doing  some- 
thing." 

Grattan  shook  his  head.  "We  don't 
know  what  we'll  run  into,"  he  ob- 
served, "and  you're  safer  here."  . 

Grattan   thought   a  moment.     "I  "-l  -  -  .'■ 

think  I've  got  the  best  idea.  You  three 
stay  here  and  let  me  do  a  little  recon- 

noitering.  I  won't  go  far  and  I'll  fire  a  shot  from  my  revolver 
if  anything  happens — then  you  can  follow. 

The  others  put  up  a  strong  protesting  argument  but  the 
director  was  not  to  be  deterred  from  his  plan  and  reluctantly 
they  watched  him  go. 

"If  this  keeps  on,"  said  Tom  Lee,  disgustedly,  "we'll  all  be 
gone  and  there'll  be  nobody  to  rescue." 

"Hap"  was  silent,  and  Eleanor — thinking  of  Vera  and 
Truesdale,  for  both  of  whom  she  felt  a  strong  affection  and  in 
the  case  of  the  latter,  possibly  something  more — could  not 
restrain  her  tears. 


Note. — No<w,  what  I  want  to  know  is, 
•who's  the  villain  of  tins  piecef  All  along 
I've  suspected  Truesdale,  but  he  seems  to 
be  playing  the  part  of  a  hero  in  some  mea- 
sure. Anyway,  he  has  been  left  on  my 
hands,  so  to  speak,  insensible.  There  is  a 
girl's  scream  to  be  accounted  for  and  a  lot 
of  unknown  miscreants  in  a  cabin;  also  a 
vanished  captain  and  crew.  Well,  maybe 
I  can  mix  things  up  a  bit  more — and  leave 
Mr.  Finnegan,  who,  I  understand,  is  to 
finish  the  yarn,  with  something  to  explain. 
At  any  rate.  Til  do  my  best. 

THOMAS  MEIGHAN. 


Meanwhile  Grattan,  taking  the  course 
pursued  by  Truesdale  the  night  before,  had 
long  since  vanished  around  the  curve  of  the 
shore  line  and  was  proceeding  cautiously  as 
had  his  predecessor,  when  from  behind  a 
boulder  appeared  the  shaggy  head  of  Goff. 
The  director  had  never  seen  the  creature 
but  from  the  description  given  by  Eleanor 
and  Truesdale  knew  it  was  the  moron.  He 
held  his  revolver  ready  but  did  not  menace 
the  strange  creature,  who  with  a  whine  and 
bashful  demeanor,  much  like  a  dog  that 
does  not  know  whether  it  is  going  to  be 
petted  or  kicked,  sidled  up  to  him. 

"I'm  only  old  Goff,  I  am,"  whimpered 
the  odd  being.  "I  never  done  nobody  no 
harm.   Who  be  you  ?" 

"I'm  the  boss  of  this  outfit — do  you  know 

where  the  others  are — the  girl  and  " 

Goff  winked  prodigiously  and  smirked 
like  a  simpering  schoolgirl. 

"He-he,"  he  giggled,  "Goff  knows  a  lot; 
Goff's  no  fool,  only  he's  been  abused.  How 
much'll  you  pay  if  he  takes  you  where  your  friends  are  bein' 
kep*?" 

"Five  dollars,"  promptly  answered  Grattan,  pulling  out  a 
bill  and  waving  it  temptingly  before  the  half-wit. 

"Five  dollars — heap  o'  money,"  the  other  gurgled,  "heap  of 
money  for  poor  old  Goff  what  never  had  nothin'  but  kicks. 
You  come  along  o'  me,  mister.  I'll  find  your  friends  for  you, 
you  jest  trust  poor  old  Goff." 

He  turned  and  made  for  the  rocks  inland,  climbing  like  a 
goat. 

Grattan  had  all  he  could  do  to  follow  and  at  the  top  of  a 
small  ledge  he  stopped. 

  "See   here,"   he  said,   "you  mean 

.nil  ■        they're  inland — not  along  the  coast?" 

"Old  Goff  knows — over  in  the  rocks 
—he-he — rocks  and  rocks  and  rocks — 
got  a  cave,"  hz  added  mysteriously. 
"Robber's  cave  with   fine  jools  an' 
money.    Goff  knows — he's  seen  'em." 

"Seen  what?"  demanded  the  direc- 
tor; "the  monev  or  the  robbers?" 
"Both,"  blinked  the  moron;  "both." 
"Well,  go  on— I'll  follow  you.  If 
you  lead  me  astray,  I'll  either  take  a 
shot  at  you  or  break  your  head.  And 
you  won't  get  the  five  dollars,  either." 
"Poor  old  Goff — never   hurt  no- 
■  body,"  whined  the  skin-clad  man.  "You 

============        trust  old  Goff." 

For  an  hour  or  more  the  director  did 
follow  him — over  rocks  and  through 
underbrush — away  from  the  coast  and  the  hidden  harbor 
where,  unknown  to  him,  lay  the  Wasp.  He  had  his  misgiv- 
ings, of  course,  but  it  seemed  like  a  lead  worth  following  and 
he  had  no  fear  of  Goff. 

It  was  noonday  when  the  half-wit  suddenly  stopped  and  in 
a  low  voice,  said: 

"Got  to  keep  quiet  now — we're  purty  nigh  the  cave." 
Silently  they  advanced  through  a  rock  defile  and  came  quite 
suddenly  to  a  little  basin,  where  the  grass  had  formed  a  verit- 
able lawn  and  flowers  grew  in  rich  profusion.    It  was  a  regu- 
lar island  paradise,  and  despite  his  anxiety,  Grattan  could  not 


HdiywooA  SCREENLAND  C«ufi« 


39 


help  thinking  what  a  fine  location  it  would 
make  for  a  picture  sequence. 

A  lot  of  boulders  piled  upon  one  another 
by  the  giant  hand  of  nature  formed  a  na- 
tural "backdrop"  for  the  setting  and  in  the 
midst  of  these  was  a  dark  opening.  _  ^ 

"He-he,"  whispered  the  half-wit,  old 
GofPs  cute.  There's  your  robber's  cave 
and  we're  safe— robbers  ain't  ^  here— but 
there's  the  gal — there's  the  gal !" 

To  Grattan's  utter  amazement  there 
emerged  from  a  little  winding  passage  be- 
tween the  boulders— at  the  far  end  of  the 
basin— a  girl  clad  in  skins  and  with  her 
hair,  plentiful  and  richly  black,  flung  over 
her  shoulders ! 

For  a  moment  the  director  believed  it 
might  be  Vera,  but  at  once  knew  it  was  not, 
for  Vera  was  a  blonde.  .      ;  „ 

"That's  not  the  girl  I'm  looking  tor, 
said  Grattan,  but  the  half-wit  was  jumping 
up  and  down  in  glee. 

"Hello,  hello,"  he  cried;  here  s  old 
Goff,  my  dear,  old  Goff  and  a  nice  man 
come  to  pay  you  a  call." 

The  girl  glanced  quickly  up  and  gave  a 
start  of  alarm. 

But  she  did  not  seem  inclined  to  run. 
Instead,  she  came  forward  quietly,  the  di- 
rector noting  as  she  advanced  the  beauty  of 
her  face,  even  though  tanned  to  the  shade 
of  a  mulatto  by  the  sun  and  exposure.^ 
"Father,"  she  cried,  "who  is  this?" 
"All  right,  daughter,"  responded  the 
moron.  "He's  looking  for  the  other  gal 
and  the  robbers.    I  know  they're  here. 

The  girl,  with  a  pitying  smile  and  a  look 
at  Grattan  which  seemed  to  speak  volumes, 
took  the  half-wit's  hand  and  led  him  oyer 
to  the  cave.  .  .  ,    u •  i, 

"Go  in  there  and  rest,"  she  said  in  a  tone  o  command  which 
was  like  one  would  use  toward  a  child.  "Ill  talk  to  this 
strange  gentleman.  ,     .  , 

Certainly,  thought  the  director,  however  mad  the  father 
might  be,  the  daughter  was  of  sound  mind— but  what  was  she 

d°Onceetne  half-wit  was  in  the  cave— he  had  obeyed  the  girl 
without  a  whimper— she  turned  to  the  director 

"If  you  will  pardon  my  appearance,  I  would  like  to  hear 
what  vou  are  looking  for  "  rf„5n 

Her  speech  was  that  of  an  educated  person  and  Lrrattan 

U°Theredcould  be  no  harm,  however,  in  telling  her  the  truth, 
so  he  outlined  all  that  had  happened  since  their  landing  on 
the  island. 

She  listened  quietly.  ,  , 

"I  may  be  able  to  help  you,"  she  declared,  when  he  had 

finished  the  recital.  ,     .,T       .  , 

"First  tell  me  about  yourself,"  he  begged.  "I  can  t  under- 
stand at  all."  .      .  ,  .,  . 

"I  don't  blame  you,"  she  replied,  with  a  smile  that  dis- 
played beautiful  teeth.  "But  after  all— it  is  simple.  My  poor 
father  became— as  vou  see  him— two  years  ago.  He  was, 
however  hard  it  may  be  for  you  to  believe  it,  a  writer  o\ 
fiction.  He  became  imbued  with  the  idea— obsession— that  he 
was  one  of  the  characters  he  created,  a  half-wit  named  Jjott. 
The  doctors  could  do  nothing  for  him  and  advised  that  he  be 


He  held  his  revolver  ready  but  did 
not   menace   the   strange  creature.'^ 
Photo  posed  by  Thomas  Meighan 

put  in  an  asylum.  But  he  was  harmless  and  to  escape  having 
him  committed,  we  came  to  this  island,  which  we  had  dis- 
covered during  a  cruise  some  years  before.  I  don  t  know  who 
it  belongs  to.  It  suffices  for  our  needs.  Father  does  some 
fishing  and  sells  to  a  chap  named  Manuel  Gonsalves,  a  Por- 
tuguese who  puts  in  occasionally.  He  may  have  a  head- 
quarters on  the  other  side  of  the  island.  I  don  t  know  for  1 
haven't  been  there  for  two  years.  We  landed  on  this  side. 
A  friend  of  my  father's  who  was  in  the  secret  brought  us  in 
his  private  yacht.  He  also  makes  periodic  trips  here  with 
supplies  for  us."  / 

"But  you— whv  do  you  live  here  like  a—— 
"Modern  wild' girl?"  she  finished,  smiling.  "Well,  because 
I  like  it;  because  I  cannot  leave  father.    Because  my  own 
health  was  bad  until  I  began  to  live  this  way— now  look  at  me. 

Grattan  did  look,  admiringly.  Certainly  it  needed  no 
second  glance  to  prove  that  she  was  in  perfect  health. 

"But  now,"  she  said,  "your  story.  I  think  Gonsalves  whom 
I  despise,  is  at  the  bottom  of  it.  Father  labors  undei -  the 
belief  that  there  is  a  great  treasure  here  and  that  the  robbers 
make  this  their  retreat.  You  see,"  she  said,  with  a  little  catch 
in  her  voice,  "he  is  hopelessly  insane." 

"But— but  what  can  we  do?"  asked  Grattan,  a  trifle  non- 
plussed. 

"Wait — a  moment,  please." 

The  girl  left  him  and  penetrated  the  cave.  A  moment  later 
she  emerged  with  a  faded  photograph— the  kind  known  to 


40  „ 

^ir™*  SCREENLAND  Caiifi 

tZrCflrl  3S  3  7*°"  Ph0t-0'  SUch  M  are  sent  t0  admf™  who 
W"?-f?r.thtm-    Jt  was  a  P"*ure  of  Vera  Shelby! 

1  his  is  the  young  lady  who  is  missing?"  she  asked, 
res,  but  how  did  you  get  that?" 
"Wait!    Gonsalves  left  it  once.'  He  has  seen  her  on  the 

wS?W,meT  l"d  !gif-n  is  madly'  d«P^ateIy  infatuated 
with  her  I  heard  htm  swear  to  get  her.  There  is  your  mo- 
tive. I  always  encouraged  him  in  his  infatuation  for  her  be- 
cause once  he  used  to  make  advances  to  me  and  I  was  afraid 
of  him.  Now  that  is  changed.  Understand-he  is  a  man  of 
education;  a  man  of  imagination— what  he  does  I  do  not 
know.  Perhaps  he  is  a  smuggler," 
"Well,  I'll  be— hanged," 


were  a  queen.    He  hasn't  dared  even  to  lay  his  little  fWer 

men—why  he  could  be  sent  up  for  life  » 

He  doesn't  seem  to  be  afraid.  He  is  a  very  wealthv  and 
very  intelligent  Portuguese-not  from  the  AzoTes  Qr  ome  j 
handsot."  8        fr°m  Lisb°n-    A"d-Wniard-he  Uy 

"Vera,"  cried  Truesdale, 
this — cutthroat" 


'I  believe  you  actually  admire 


said  Grattan.  He  looked 
at  the  photo  and  at  the 
girl. 

"What  is  your  name?" 

he  asked,  suddenly. 

"I  will  not  tell  you  my 

last  name — it — my  fath- 
er's, you  understand — is 

on  the  cover  of  many  a 

well-known  'best  seller' — 

you'd  not  think  it  now; 

he  has  even  learned  to  talk 

like  'GofF — this  creature 

of  his  imagination.  My 

first    name,    though,  is 

Dolores  " 

Grattan  felt  a  sudden 
surge  of  pity  for  the  girl. 
Again  he  compared  the 
features  of  the  two  and 
was  forced  to  admit  that 
however  beautiful  Vera 
Shelby  might  be,  the 
island  girl  was  even  more 
lovely.  And  he  won- 
dered. 

CHAPTER  VIII 
The  Lifting  Curtain 

IX^HEN  Truesdale 
▼  t  came  to  his  senses 
he  was  first  cognizant  of  a  bad  headache. 
Next  he  realized  that  it  was  daylight  and 
that  he  was  in  a  rough  cot  in  the  shanty. 
As  he  opened  his  eyes  the  first  thing  they 
rested  upon  was  Vera,  standing  in  the  doorway. 

J~LTJi^ he  started  u* onIy  to  find  tha< he 

The  girl  turned  and  seeing  that  he  was  awakened,  came 
over  to  him  There  seemed  to  be  no  one  else  at  hand  and  she 
was  evidently  quite  free  to  do  as  she  wished.    He  could  not. 

yJTSf  KnWJ  th3t  J***?  squatted  a  villainous  looking 
Yaqui  half-breed,  armed  with  a  musket. 

Oh,  W.llard  "  cried  Vera,  "you  have  come  to  at  last  I 

afAe,V°U  W?      never  regam  vour  senses." 
What— what  does  it  mean?"  he  asked  feebly.  "Aren't 

stream— '"^    ^  ^  ***  1  reca"  was  heari»g  ^ 
"I  screamed  because  they  told  me  that  one  of  my  friends  was 
spying  and  that  they  were  going  out  to  'get'  him,"  said  Vera. 

Jjrld     A  In150"?'  aI,."'ght    So  are  you,  for  the  door  is 
guarded  and  Gonsalves  will  soon  return." 

"Who  is  Gonsalves?    The  leader  of  this  gang?" 
Yes;  they  overpowered  Capt.  Hansen  and  his  men  and 
stole  me  from  the  shack  that  night.    Then  they  took  me 
aboard  and  brought  the  Wasp  here." 

"But  why — what  for?" 

To  his  surprise,  she  blushed  furiously. 

is  JJfe  t0Atdlu"  She  confTessed.  "^t  the  truth  is,  Gonsalves 
S,mpIv  mad  about  ™-    He  has  been  as  kind  to  me  as  if  I 


"Perhaps  I  do  admire 
him — he  is  a  brave  man — 
but  I  hate  him  as  well." 

"Admire  him!  Brave 
man?"  the  actor  sniffed. 
*'l  think  he's  an  infernal 
scoundrel !  Wish  I  could 
see  him  to  tell  him  so!" 

"At  your  service,  senor," 
said  a  soft,  well-modu- 
lated voice,  "you  may  say 
what  you  like." 

In  the  doorway,  now 
open,  stood  a  tall,  well- 
built  and  very  good-look- 
ing man  of  perhaps  40. 
He  was  dressed  in  a  natty 
yachting  costume.  He  had 
crisp  curling  black  hair 
and  his  face  was  dark  as  a 
Spaniard's. 

"You  damned  dog!" 
shouted  Truesdale,  strain- 
ing at  his  bonds,  "you're 
Gonsalves,  are  you?  I 
wish  I  was  free — I'd  show 
you  a  thing  or  two!" 

"As  for  that,  you  may 
be  free  if  you  wish,  but  I 
strongly  advise  that  you 
restrain  yourself.    It  will 
do  you  no  good  and  you  might  regret  it.  I 
have  something  to  say  to  you.   Miss  Shelby 
—will  you  oblige  me  by  leaving  us  alone 

see  that  you  come  to  ™Va™  "  ^ 

the^r  MST  IO°k  ^  me"'  VCra  WCnt  °UtS1"de  «*» 

"Now,"  said  Gonsalves,  in  a  low  voice,  "I  have  a  propo- 
sition.  In  the  first  place,  I  love  Miss  Shelby." 
You  insult  her  by  saying  it,"  said  Truesdale. 
Hie  other  frowned     "Possibly  not.    I  am  of  good  blood 
and  a  gentleman.    Oh,  sneer  if  you  like.    You  do  not  know. 
At  any  rate,  1  have  done  no  more  than  you." 
"What  do  you  mean?"  gasped  Truesdale. 
"Listen;  I  will  tell  you  a  thing:  A  few  days  ago,  I  hap- 
pened to  be  in  San  Pedro-in  a  ship  chandlery  there-when 
you  were  talking  with  Captain  Hansen,  of  the  Wash.  Need 
I  say  more? 

A  cold  sweat  broke  out  on  Truesdale's  face.   "You  mean— 
you  heard-  ? 

n"Au  ii  Now  do  you  wish  that  I  tell  Miss  Shelby  of  this? 
Ur  shall  I  be  permitted  to  pay  my  respects  to  her— as  a 
gentleman? 

"Why— why-she  hates  you!   And  you're  a  criminal!" 
And  you? 

I'll  admit  I  was  a  fool  to  think  of  it  


"The  first  thing  his  eyes  rested  on, 
was  Vera,  standing  in  the  doorway." 
Photo  posed  by  Betty  Compson 


"Mine  was  a  joke- 
but  I  loved  her  " 

"Exactly — so  do  I. 
Well,  think  it  over. 


Strange  things,  men  do  for  love,  eh? 

( Continued  on  Page  61.) 


Hollywood.  SCREENLAND  C*ii£«»» 


41 


LITTLE 
HINTS 


THE  CRADLE  BUSTER— Tuttle-Waller 

THIS  is  chiefly  interesting  because  it  brings 
to  the  fore  a  talented  young  actor — Glenn 
Hunter.  He  is  Tarkington's  "Clarence"  typified, 
and  with  his  whimsical  qualities  and  expressive 
pantomime,  he  brings  to  the  screen  something 
that  is  different.  Particularly  amusing  is  his  in- 
terpretation of  a  young  man  who  comes  of  age 
and  determines  to  declare  his  independence  by 
seeking  a  wild  life.  The  well-told  story,  the  fine 
photography— and  Glenn  Hunter  make  this  an 
enjoyable  picture,  and  an  ideal  one  for  the  whole 
family. 

■HHHBHHSHSBHI 


FORGET  ME  NOT — Louis  Burston 

LIKE  a  cloisonne  vase,  this  picture  is 
j  strangely,  compellingly  beautiful.  Fra- 
gile, lacking  strength  and  with  too  hectic 
sub-titles,  the  play  yet  leaves  you  with  the 
impression  of  having  looked  upon  some- 
thing very  beautiful,  like  a  work  of  art. 
Gareth  Hughes  plays  with  whimsical  poign- 
ancy an  orphan  boy  who  loves  a  crippled 
little  girl — and  both  he  and  Bessie  Love 
demonstrate  again  that  the  screen  would 
suffer  without  them. 


MISSING  HUSBANDS — Metro — French  Importation 
IF  you  are  of  the  opinion  that  only  bronzed  skin,  dark-eyed  sheiks  can  do  the  luring 
1  in  the  east,  this  picture  will  inform  you  otherwise,  for  it  is  the  female  of  the  species 
whose  charms  cause  all  the  trouble.  The  picture  is  taken  from  Pierre  Beno.t  s 
popular  novel,  "L'Atlantide,"  and  whether  the  fault  lies  w.th  the  adaptat.on  or  with 
the  original  story,  the  fact  is  that  it  isn't  half  as  interesting  or  excit.ng  as  our  own 
SHIEK.  Perhaps  its  opportunities  were  not  realized.  Stacia  Napierkowsky  as  ,h2 
desert  siren  is  not  particularly  alluring. 


/ 


42 


for  PLAY- 


JUiywooA  SCREEKLAND  Caiifi 


SHATTERED  fDOLS— First  National 
AN  unreal  fantasy  becomes  almost  believable  in  the 
-TTcapable  hands  of  James  Morrison  and  Marguerite  de  la 
Motte,  whose  tensely  human  characetrizations  raise  this 
Sf°ry  .^"'"l"  ^oiatries  to  the  plane  of  drama,  if  not  of 
plaus.b.lrty.  The  one  false  note— a  mother's  hatred  for  her 
crippled  son— is  almost  possible  of  belief  against  the  color- 
ful background  and  mystic  lure  of  India  (as  studio  art  direc- 
tors always  conceive  it). 


FOR  THE  DEFENSE— Paramount 
IN  which  little  ZaSu  Pitts  runs  away  with  the 
1  story.  Her  portrayal  of  the  pathetic  little  slavev 
•n  the  gnp  of  the  law  is  one  of  the  finest  bits  of 
screen  acting  of  the  year  and  overshadows  the 
l°"^"^J°S>d  work  of  a  brilliant  cast.  FOR 
THE  DEFENSE  is  a  good,  old-fashioned  mystery 
story,  with  blood-stained  garments,  tell-tale  finger- 
prints, and  suspense  to  keep  you  on  the  edge  of 
your  seat  nght  up  to  the  fade-out.  Bertram 
Grassby  as  the  sinister  Dr.  Kasimer  and  Mayme 
Kelso  as  the  woman  who  loved  him"  contribute 
largely  to  the  success  of  the  picture.  If  you  enjoy 
having  your  feelings  harrowed,  you  will  like  this 
picture. 


NERO  Fox  Special— Filmed  by  J.  G.  Edwards  in  Rome 
T-HE  grandeur  of  Rome  rolls  forth  once  more,  depicting  with 
X  magnificent  splendor  the  eventful  life  of  Nero.  J  Gordon 
Edwards  has  created  a  noteworthy  achievement  in  that  the  spec- 
tacular scenes  do  not  overwhelm  one  to  the  extent  of  distractina 
from  the  love  story.  The  screen  is  alive  with  the  tornado  of 
action  and  the  swift-moving  story  grips  one's  interest  throughout. 
The  characterizations  of  Jacques  Gretillat  as  Nero,  and  Alexander 
balvini  as  Horatius  are  excellent. 


THE  INFIDEL— First  National 
r\N  the  wave  of  a  typhoon  the  statuesque  Katherine  Mac- 
\S  Donald  rides  into  a  tempestuous  port.  Even  the  South 
Seas  and  a  petty  revolution— the  kind  scenario  writers  con- 
coct before  breakfast— fail  to  animate  the  icicular  Kath- 
erme.  Her  pictures  have  become  pretty  clearly  classified 
and  here  she  uses  her  entire  repertoire  of  four  expressions 
beautifully.  This,  in  its  direction  and  background,  is  a  bit 
better  than  recent  MacDonald  films. 


THE  STROKE 
— Swedish  Bio 
Import 

(Lef 

IT  isn't  every  dire 
take  a  theme  a; 
thuselah  and  by  in 
recting  make  it  vivi 
pealing.  Yet  to  Victo 
of  Sweden  belongs 
— and  added  to  this 
forceful   and  exprei 
pretation  of  the  repro 
of  our  screen  lumin£ 
stock  of  expressions 
ing  out,  would  do  we 
the  acting  of  this  Swt 


THE  MAN  INCONQUERABLE 
— Paramount 

JACK  HOLT  is  made  interesting 
in  a  satisfactory  story,  supported 
by  a  good  cast  and  surrounded  by 
pearl  pirates  in  an  appealing  tropi- 
cal setting.  There  is  a  divine  dis- 
pensation that  protects  playgoers 
from  a  satiating  over-abundance 
of  super-excellent  films  and  it  op- 
erates with  ease  and  dispatch 
the  present  instance.  But  even 
poet  can  love  a  good  scrap  and 
there  are  several  good  ones  in  this 
picture.  And  even  a  poet  knows 
that  more  people  fancy  fights  than 
flights  of  fancy. 


(Continued  on  Page  64.) 


r 


ave 


[others? 


By  HARRY  CARR 


;IENCE  has  found  a  way  to  eradicate  nearly  every 
:ind  of  pest  except  the  mothers  of  stars.  So  far  they — 
;he  fond  mammas— have  defied  all  efforts;  they  reign 
le  in  their  pestiferousness. 

ure  a  very  lovely  young  star  at  whose  very  name  every 
ir  shudders.    She  is  on  the  set ;  the  camera  is  all  ready 
;in  winking ;  the  director  is  biting  his  nails,  all  pepped  up 
for  the  big  scene, 
.re  you  all  ready?"  he  asks  the  electrician.    For  once  in 
fe  the  lights  are  all  ready. 

low,  Miss  So-and-So,"  he  calls  to  the  star.    "Come  in 
that  door ;  you  are  crying  .  .  ." 

ell,  she  comes  in  by  that  very.  door.    She  is  crying; 
ow  she  thinks  she  is  crying.    She  looks  like  St.  Cecilia  at 
Organ — only  not  at  an  organ  but  all  dressed  up  for  a 
Her  hair  is  all  marcelled  to  perfection  and  even  her 
are  in  perfect  etiquette. 
x,ut  my  dear  child,"  cries  the  director  in  dismay.  "You 
■e  just  been  found  starving  in  the  gutter.   Your  hair  ought 
be  straggled  all  over  your  face  and  not  curled  .  .  ." 
'T  alwfvc         r,1v  hair.    My  clientele  expects  it,"  retorts 
;nity. 

ou  looking  like  that,"  insists  the 

s  fair-famed  eyes  begin  to  fill 
with  a  gesture  that 


"Once  in  a  while  a  newspaper  man  is  be- 
trayed by  some  designing  villain  into  attempt- 
ing to  interview  daughter.  The  result  is  that 
mamma  envelopes  the  proceedings  like  a  thun- 
der cloud  on  an  August  day  in  New  York." 

the  -director  has  learned  to  recognize  from  bitter  experience. 

He  knows  that  she  is  sending  out  the  S.O.S.  for  mamma  and 

that  the  appeal  will  not  be  in  vain. 

Mother  comes  waddling  furiously  onto  the  set,  pushing 

camera  men  and  electricians  out  of  the  way  in  her  flight  to 

the  rescue.    Miss  So-and-So  melts  into  her  fat  embrace. 
The  subsequent  conversation  then  goes  something  like  this: 
"Were  they  mean  to  my  little  lamb;  did  they  abuse  my 

beautiful  little  fawn?    Never  mind,  you  still  have  mother; 

there,  there,  don't  cry  .  .  .  mother's  beautiful  lamb  .  .  . 

mother's  sweet,  beautiful  child  .  .  .  they  shan't  be  mean  to 

you  any  more  .  .  . 

And  then  over  her  corpulent  shoulder  to  the  terror  stricken 
director,  in  icy  tones,  "I  don't  think  you.  understand  my 
daughter.  She  is  a  very  sensitive  child." 

"We  may  not  understand  her;  but  we  are  getting  educated 
rapidly,"  mumurs  the  director,  but  the  sarcasm  is  lost  upon 
Mamma,  who  is  back  at  the  job  of  mopping  up  Miss  So-and- 
So's  tears.  The  lovely  beautiful  lamb  weeps  enough  to  move 
Mamma,  but  she  is  always  careful  not  to  carry  her  grief  far 
enough  to  wash  the  mascaro  off  her  eye-lashes.  It  is  a 
nuisance  putting  on  mascaro. 


HJiywooA  Screen  land  c*u£*»i» 


45 


Honestly,  she  is  only  one  of  them. 

There  are  a  dozen  girls  on  the  screen  who  might  become 
great  stars,  but  for  their  adoring  and  devoted  mothers. 

I  know  one  girl  who  can't  get  any  publicity  because  her 
mother  insists  upon  hanging  around  when  daughter  is  inter- 
viewed. Once  in  a  while  a  newspaper  man  is  betrayed  by 
some  designing  villain  into  attempting  to  interview  daughter 
anyhow.  The  result  is  that  mamma  envelops  the  proceedings 
like  a  thunder  cloud  on  an  August  day  in  New  York.  Every 
time  he  asks  daughter  a  question,  mamma  always  cuts  in  with, 
"I'll  tell  you  just  how  that  happened."  And  away  she  goes 
in  a  cloud  of  dust  and  conversation,  leaving  two  desolated, 
bored,  disgruntled  figures  by  the  wayside. 

I  remember  when  one  of  these  mamma-ridden  movie  stars 
took  a  little  flier  in  vaudeville.  I  was  sitting  in  the  vaudeville 
manager's  office  wh^n'a  scared,  worried  stage  manager  came 
in.  "Say,"  he  shouted,  "here's  somethin'  you  gotta  tend  to. 
Here's  a  Jane  out  there  who  says  she's  gotta  have  the  star 
dressing  room  and  she  wants  me  to  change  her  to  the  star  top 
liner's  place  on  the  bill." 

"Who  is  she?"  demanded  the  manager. 
"She's  that  fat  woman,"  replied  the  stage  manager.  "Her 
daughter  is  that  movie  girl." 


The  manager,  who  had  risen,  sank  back  weakly  into  his 
chair.  "For  heaven's  sake  give  her  anything  on  the  bill,"  he 
said  wildly.  "Give  her  the  whole  house  and  the  orchestra; 
give  her  everything  she  asks  for,  but  don't  let  her  come  in 
here." 

He  had  already  had  an  interview  or  two  with  mother. 
There  is  one  famous  mother  in  th^movies.    She  is  the 
champion  wet  blanket  wielder  of  the  world.    She  is  a  tall, 
gaunt  lady  with  literary  discrimination.    If  anybody  doesn't 
believe  she  has  literary  discrimination,  just  ask  her. 

She  makes  a  specialty  of  hovering  around  the  projection 
room.  She  always  comes  out  of  that  same  projecting  room 
with  a  Pauline  Revere  cry  of  alarm. 

"My  dear!"  she  says  to  the  director,  "I  simply  cannot 
allow  it.  It  would  jeopardize  my  daughter's  whole  future. 
Her  clientele  always  expects  her  to  be  a  sweet  little  girl.  I 
simply  could  not  permit  that  kissing  scene."  This  lady  is  very 
long  on  daughter's  clientele.  She  seems  to  think  that  very 
large  groups  of  the  population  of  the  world  are  sitting  up 
I  nights  waiting  for  daughter  to  come  through  with  another 
sweet  picture ;  and  that,  if  disappointed,  they  would  go  down 
in  sorrow  to  the  grave. 

She  never  fails  to  demand  that  every  picture  be  torn  to 
pieces  after  it  is  made  and,  as  daughter  invariably  sticks  with 
Mamma  in  everything,  the  picture  is  usually  spoiled  in  the 
re-boiling  process. 

One  of  the  most  objectionable  of  the  stage  mothers  isn't  so 
bad  in  a  business  way. "  But  she  is  a  social  pest.  Every 
director  has  to  tote  her  around  to  parties  and  festivities  and 
dance  with  her.  If  he  does  not,  he  will  get  what  is  coming 
to  him.  Mamma  will  always  poison  daughter's  mind  against 
him.  So,  with  a  frozen  smile  and  a  pretended  gayety,  he  goes 
forth  to  the  slaughter.  This  old  dame  is.  one  of  the  coy 
variety.  She  talks  baby  talk.  "Is  us  weady?"  she  inquires 
coyly,  when  the  party  of  martyrs  is  ready  for  their  penance. 
My  gaud,  the  spectacle  of  that  mamma  trying  to  be  a  flapper 
is  something  that,  once  seen,  will  never  be  forgotten.  There 
is  a  horrible  fascination  about  her. 

I  have  mentioned  no  names  in  this  article ;  but  I  will  men- 
tion one.    I  am  going  to  mention  one  mother  because,  unlike 
the  others,  she  is  a  joy  forever.    She  is  a  welcome  guest  at 
every  studio.    Her  opinion,  eagerly  sought,  and  given  in  a 
shy  abashed  way,  is  always  helpful,  shrewd  and  kindly.  She 
knows  the  picture  business  from  every  angle — and  keeps  what 
she  knows  to  herself.    She  makes  a  home  that  is  a  peaceful, 
quiet  haven  of  quiet  and  rest  for  her  two  little  star  daughters. 
She  is  a  capable,  experienced  business  woman  and  she  sticks 
on  the  job  of  handling  the  details  of  their  investments  and 
leaves  the  direction  of  the  pictures  to  the  directors.    She  can 
say  more  in  five  words  than  most  people  can  in  five  hours. 
She  can  be  quiet  and  mind  her  own  business  in  every  language 
and  dialect.    She  can  give  more  real  help  to  her  daughters 
where  they  really  need  it  than  forty  hired  managers.  She 
always  seems  to  be  just  where  she  is  needed  and  just  when  she 
is  needed  and  says  just  the  right  thing  at  the  right  moment. 
The  one  star-mother  I  ever  met  whose  rare  arrival  at  the 
studio  is  really  welcomed  is  Mrs.  Mae  Gish,  mother  of  Lillian 
and  Dorothy.    She  ought  to  start  a  school  for  mothers.  I 
know  what  all  the  lessons  should  be  about— how  to  keep  still 
and  mind  your  own  business. 


46 


BEHIND  the 
SCREEN  in 
HOLLYWOOD 


^^iyyroa.  Screen  land  c»ii6™*» 


You  might  believe  yourself  in  a 
shipyard  when  you  see  the  bob- 
tailed  flivvers  sputtering  across  the 
Lasky  stages  with  great  loads  of 
"props."  (This  picture  also  might 
suggest  to  you  that  there  are  hand- 
some and  ambitious  young  men 
who  break  into  the  movies  with  a 
tool  kit  instead  of  a  make-up  box!) 


Hollywood.  SCREENLAMD  C»lifi»H 


47 


The 

SAME 

Little 

TESS 


The  top  photograph  shows  Mary 
Pickford  in  a  scene  of  the  elaborate 
film  version  of  TESS  OF  THE  STORM 
COUNTRY,  now  in  production.  The 
lower  picture  is  reproduced  from  one 
of  the  two  "stills"  now  in  existence  of 
TESS  as  she  looked  eight  years  ago. 
(This  story  was  one  of  the  leading 
screen  productions  of  1914.)  In  the 
following  article  Mary  makes  some 
interesting  comparisons  of  the  two 
pictures. 


Photo  by  Knuie  Rahm» 


THE  same  little  Tess  that  rolled  out  of  a  bundle  of 
rags  and  into  the  hearts  of  millions  of  adorers  the  wide 
world  over  years  ago  left  her  place  and  came  to  rest 

on  the  boat's  gunwale.  . 

Mary  Pickford  tossed  back  her  rippling  curly  hair  and 
laughed  softly  in  reminiscence — 

"Yes,  this  certainly  is  different  from  the  days  when  we 
made  Tess  first,  isn't  it?" 

She  waved  a  grimy  hand  towards  the  big  dynamo  roaring 
like  a  freight  train  fifty  feet  away,  and  the  fire-engine  down 
on  the  beach.  .  , 

"We  didn't  have  a  fire-engine  to  draw  water  from  the  lake 
for  us— nor  any  old  electric  lights  to  hurt  our  eyes— nor  an 
aeroplane  motor  for  wind!" 

She  smiled  towards  the  company  working 
back  of  her— "Why  actually  there  were  just 
mother  and  me,  Harold  Lockwood,  and  the 
camera-man,  Edwin  Porter,  who  was  also  the 
director  and  producer! 

"And  think  of  it — we  had  just  one  script  for 
everybody!"  ,  . 

Her  slender  hands  expressively  emphasizing 
these  astonishing  facts,  she  repeated, 

"One  man  was  camera-man,  director  and 
producer !" 

Mary  has  such  an  intensive  way  of  talking  to 
yoU) — she  looks  you  squarely  in  the  eye, — that 
you  forget,  as  she  seems  to,  that  there  is  anyone 
else  around.  But  though  she  has  concentrated 
on  you  she  knows,  before  her  maid  speaks,  what 
is  wanted. 

"Yes,  Bodamere— bring  my  things  here— and 
take  little  Mary  for  ice-water,  or  some  milk  in 
the  commissary  " 

"A  commissary — here?" 

"O  yes,  in  that  third  shack! 

"It's  dangerous  business,  this,  of  making  Tess 
again— but  it  is  a  beautiful  story,  and  will  be 
so  much  better  than  the  first  picture. 

"I  always  loved  Tess  so.  Why  I  could  not 
get  to  the  set  fast  enough  every  morning.  We 
worked  from  ten  to  four — think  of  that!  It 
takes  me  four  hours  every  day  now  just  to  get 


out  here  and  get  my  make-up  on  and  to  get  it  off  and  go  home ! 
Sixty  miles  every  day  for  the  last  four  weeks,  out  here  and 
back— and  we  aren't  through  yet! 

"Our  work  was  easy  then.  We  just  took  the  scene  and 
were  through  with  it!  Now  we  have  to  take  it  from  twenty 
angles,  over  and  over— tiresome  work!" 

She  looked  down  ruefully  at  her  broken,  soiled  nails,  then 
glanced  up  quickly  with  a  smile — 

"You  see,  it  was  funny— the  way  we  happened  to  make 
Tess  in  the  first  place. 

"I  had  come  out  to  Hollywood  to  make  Hearts  Adrijt. 
Mother  was  worried  about  me  because  I  had  just  had  an 
operation  for  appendicitis  and  was  very  weak  and  thin.  In 
Hearts  Adrift  I  had  to  work  (Continued  on  Page  63.) 


mam 


Photo  courtesy  of  Mrs.  I/itman  Broening 


HdJ>~~A  SCREENLAND  C*i^»h 


PARAMOUNT 

Announces  its 

Greatest  Program 
of  Motion  Picture 

Entertainment 


FORTY-ONE  great  new  Para- 
mount  Pictures   will   be  re- 
leased   in    the    coming  six 
months,  beginning  August  6th. 

Your  theatre  manager  is  booking 
your  photoplays  now  for  the  com- 
ing season. 

Make  sure  that  he  is  preparing  to 
show  you  these  Paramount  Pic- 
tures. 

It  is  for  you  that  Paramount  has 
worked  out  step  by  step,  months  in 
advance,  this  great  program, 

— gathered  all  the  great  geniuses 
of  production  —  stars,  supporting 
artists,  directors,  novelists,  drama- 


tists, technicians  —  and  supplied 
them  with  every  conceivable  stimu- 
lus and  equipment  to  produce  the 
most  magnificent  and  thrilling  pic- 
tures! 

You  are  to  be  the  deciding  factor 
m  this  audacious  program  of  Every 
Paramount  Picture  a  Big  Picture! 

Seize  the  opportunity  in  advance! 

Telephone  the  theatre.  Ask  the 
manager:  "When  are  these  Para- 
mount Pictures  coming?" 

Get  the  day  and  date  of  showing 
for  every  one  of  the  forty-one,  and 
you  are  all  set  for  the  greatest 
shows  of  the  greatest  season  in  the 
history  of  entertainment. 


See  opposite  page  for  full  list  of  new  pictures 


When  are 
they  coming? 


'l  ist  the  phone. 


Paramount 

If    its    a    Paramount  Picture 


Miywooi  SCREENLAND  C»ii/S«v4» 


+ 

These  are  the  Forty-one  New  Paramount  Pictures 
you  should  ask  your  theatre  manager  to  book 


WALLACE  REID 

in  "The  Dictator" 
Supported  by  Llla  I-ee 
From  the  novel  by  lUchard  Harding  Davis 
Directed  bv  James  Cruze 
Scenario  by  Walter  Woods 

MARION  OAVIES 

in  "The  Young  Diaua" 
by  Marie  Corclli 
A  Cosmopolitan  Production 


THOMAS  MEIGHAN 

in  "If  You  Believe  It.  It's  So" 
by  Perley  Poore  Sheelian 
Directed  by  Tom  Forman 
Scenario  by  Waldemar  Young 


BETTY  COMPSON 

In  "The  Bonded  Woman" 
From  the  story  "The  KalvaginK  of  John  Sumner' 
by  John  Fleming  Wilson 
Directed  by  Philip  Rosen 
Adaptation  by  Albert  Shelby  LeVino 

MAY  McAVOY 

In  "The  Top  of  New  York" 
by  Sonya  Levlen 
Scenario  by  Julia  Crawford  Ivers 


"THE  LOVES  OF  PHARAOH" 

with  Emll  Janninss.  Dagny  Servacs,  Harry 
Liedtkc  and  Paul  Wegener 
An  Ernest  Lubitsch  UFA  Production 

GLORIA  SWANSON 

in  a  Sam  Wood  Production 
"Her  Gilded  Case" 
Scenario  by  Elmer  Harris  and  Percy  Heath 
Based  on  the  play  by  Anne  Nichols 

A  William  deMille  Production 
"NICE  PEOPLE" 

with  Wallace  Held.  Belie  Daniels, 

Conrad  Nagel  and  Julia  Faye 
From  the  play  by  Rachel  Crothers 
Scenario  by  Clara  Berauger 

RODOLPH  VALENTINO 

in  "Blood  and  Sand" 
A  Fred  Niblo  Production 
Supported  by  Llla  Lee  and  Nita  Naldl 
From  the  novel  by  Vicente  Blaseo  Tbanez  and 
the  play  by  Tom  Cushing 
Adaptation  by  June  Matbis 

"THE  VALLEY  OF  SILENT  MEN" 

with  Alma  Rubens 
From  the  story  by  James  Oliver  Curwood 
Directed  by  Frank  Borzage 
A  Cosmopolitan  Production 

"THE  SIREN  CALL" 

with  Dorothy  Dalton 
An  Irrin  Y.  Willat  Production 
Supported  by  David  Powell  and  Mitchell  lewis 
By  J.  E.  Nash 
Adaptation  by  J.  E.  Nash  and  Philip  Hum 

JACK  HOLT 

in  a  Peter  B.  Kyne  Special 

"While  Satan  Sleeps" 
Adapted  by  Albert  S.  LeVino 
From  the  novel  "The  Parson  of  Panamlnt 
Directed  by  Joseph  Henabery 

CECIL  B.  DeM ILLE'S 

Production  "Manslauchter" 
with  THOMAS  MEIGHAN. 
Lcatrlce  Joy  and  Lois  Wilson 
From  the  novel  by  Alice  Duer  Millet 
Adaptation  by  Jeauie  Maepherson 


The  Hamilton  Theatrical  Corp.  presents 
"THE  MYSTERIES  OF  INDIA 
UFA  Production 


"PINK  GODS" 

A  Pcnrhyn  Stanlaws  Production 
by  Cynthia  Stocklcy 
with  Bcbc  Daniels.  James  Kirkwood  and 
Anna  Q.  Nilssen 
Adaptation  by  J.  E.  Nash  and  Sonya  Levein 

"THE  OLD  HOMESTEAD" 

with  Theodore  Roberts 
Adapted  from  Dcnman  Thompson's  play 
by  Perley  Poo^e  Shechan  and  Frank  Woods 
Scenario  by  Jnllen  Josephson 
Directed  by  James  Cruze 


"THE  FACE  IN  THE  FOG" 

By  Jack  Boylo 
A  Cosmopolitan  Production 

"BURNING  SANDS" 

with  Wanda  Hawley  and  Milton  Sills 
A  George  Melford  Production 

By  Arthur  Welgall 
Adaptation  by  OUa  Printzlau 

WALLACE  REID  and  LILA  LEE 

In  "The  Chost  Breaker" 
by  Paul  Dickey  and  Charles  W.  Goddard 
Adaptation  by  Jack  Cunningham 
Directed  by  Alfred  Green  - 

"THE  COWBOY  AND  THE  LADY" 

with  Mary  Miles  Mlnter  and  Tom  Moore 
A  John  Robertson  Production 

By  Clyde  Fitch 
Adaptation  by  Josephine  Lovett 

"TO  HAVE  AND  TO  HOLD" 

A  Georce  Fitzmaurice  Production 
with  Betty  Compson  and  Bert  Lytcll 
Supported  by  W.  J.  Ferguson  and 
Theodore  Kosloff 
By  Mary  Johnston         Scenario  by  Ouida  Bergere 

THOMAS  MEIGHAN 

in  "The  Man  Who  Saw  Tomorrow 
by  Perley  Poore  Sheehan  and  Frank  Condon 
Directed  by  Alfred  Green 

"ON  THE  HIGH  SEAS" 

with  Dorotliy  Dalton  and  Jack  Holt 
Supported  by  Mitchell  Lewis 

by  Edward  Sheldon 
An  IrTin  V.  Willat  Production 


ENEMIES  OF  WOMEN" 

by  Vicente  Blasco  Ilanoa 
Directed  by  Robert  Vignola 
A  Cosmopolitan  Production 

A  George  Melford  Production 
Robert  Louis  Stevenson's 
"EBB  TIDE" 
with  Llla  Lee  and  James  Kirkwood 
Cast  includes  George  Fawcett  and 
Raymond  Hatton 
Adapted  by  Loma  Moon 

"THE  PRIDE  OF  PALOMAR" 

From  the  stoiy  by  Peter  15.  Kyne 
Directed  by  Frank  Borzage 
A  Cosmopolitan  Production 

ELSIE  FERGUSON 

in  "Outcast" 
by  Hubert  Henry  ILiv!  a 
A  John  Robertson  !*rr>duot»:ii 
Adaptation  by  Josephine  l.ovett 

"SINGED  WINGS" 

with  Bebc  Daniels 
A  Pcnrhyn  Stanlaws  Production 
by  Katherlne  Newlin  Burt 

THOMAS  MEIGHAN 

in  George  Ade's 
"Back  Home  and  Brone" 
Directed  by  Alfred  Green 


AGNES  AYRES 

in  "A  Daughter  of  Liuuiy" 
Adaptation  by  Bculah  M.uie  Di< 
Directed  by  Joseph  Hen  ibery 


A  George  Fitzmaurice  Productic.i 
"KICK  IN" 
with  Betty  Comnson  and  liort  l.ytell 
by  Willard  Mack 
Scenario  by  Ouida  Bergere 

WALLACE  REID 

in  "Thirty  Days" 
by  A.  E.  Thomas  and  Clayton  Hamilton 
Directed  by  James  Cruzo 


RODOLPH  VALENTINO 

in  "Tho  Young  Rajah" 
Adapted  from  the  novel  "Amos  Judd 
by  John  Ames  Mitchell 
Directed  by  rhilip  E.  R<  sen 
Adaptation  by  June  Mathis 

ALICE  BRADY 

in  "Anna  Ascends" 
by  Harry  Chapman  Ford 
Directed  by  Joseph  Heirabery 

A  William  deMille  Production 
"CLARENCE" 

By  Booth  Tarklngton 
with  Wallace  Reid.  Agnes  Ayres  and 
May  McAvoy 
Adaptation  by  Clara  Bera.iger 

GLORIA  SWANSON 

in  a  Sam  Wood  Production 
"The  Impossible  Mrs.  Belte  v" 
by  David  Lisle         Adaptation  by  Percy  Heath 


MARION  DAVIES 

in  "Little  Old  New  York" 

by  Rida  Johnson  Young 
Directed  by  Frank  Borzage 
A  Cosmopolitan  Product!  m 

RODOLPH  VALENTINO 

in  "A  Spanish  Cavalier" 
Based  on  the  play  "I>on  Caesar  De  Basan" 
Scenario  by  June  Mathis 

JACK  HOLT 

in  a  Peter  B.  Kyne  Special 

"Making  a  Man" 
Directed  by  Joseph  Henabery 
Adaptation  by  Albert  Shelby  LeVino 

ALICE  BRADY 

in  "Missing  Millions" 
by  Jack  Boyle 


A  William  deMille  Production 
"NOTORIETY" 

with  Bebe  Daniels 
by  Clara  Beranger 


Pictures 

it's    the    best    show    in  town 


FAMOUS  PIAYERSLASKY  CORP. 


ADOLPH  ZUKOR,  President 

•NEW  YORK  CITY* 


50 


h<%~ooa  Screen lamd  c»u£«d» 


BUNGALOW 
BOULEVARD 


JUST  a  bit  of  Old  England,  a  dimin- 
utive cottage  set  in  a  green  English 
lane  ? 

Not  a  bit  of  it,  though  one  cannot  be 
blamed  for  thinking  so.  In  reality,  this 
charming  small  dwelling  is  found  way 
up  at  the  end  of  Bungalow  Boulevard, 
where  that  attractive  wayfare  runs  up 
into  the  foothills. 

Oh  yes,  it's  every  bit  as  delightful  in- 
side as  it  is  outside.  Wouldst  judge  for 
yourself?  Then  follow  the  hospitable 
path  up  to  the  terrace  hidden  away  be- 
hind the  arbor. 

The  maid  ushers  you  into  the  living 
room,  a  long  room  that  extends  the 
whole  depth  of  the  house,  with  great 
F rench  windows  commanding  a  wonder- 
ful view  of  the  hills.    It  is  a  restful 


sh'ne-  ?a,le  ^Pie-green  walls  look  cool  and  summery  behind 
white  wicker  chairs  and  chaise-lounge  covered  with  cretonne 
in  a  quaint  rosebud  design.  The  ivory  bed  is  covered  with  a 
ruffled  spread  of  marquisette,  to  match  the  curtains,  and 
darned  into  the  net  is  a  rose  design  in  shades  of  pink,  lavender 
and  green  wools. 

We  pass  up  a  step  or  two  into  a  hall,  and  thence  into  the 
second  bedroom.    More  windows,  more  sunshine.    A  gor- 
geously capacious  clothes 


_  -   —  ,  ~  ovlt  1US  ui  uuu  uiue  covering 

floors  of  polished  oak;  draperies  of  glazed  chintz  in  tones  of 
gold  and  green  and  blue;  woodwork  of  mahogany  and  a  ven- 
erable grandfathers  clock  ticking  off  the  minutes  on  the  stairs 
that  invite  one  to  the  bed  chambers. 

Stairs  in  a  bungalow  ?  Yes,  indeed.  When  one  builds  a 
bungalow  ,n  the  foothills,  the  irregularities  of  the  ground-site 
permit  delightful  irregularities  in  the  building  plans. 

1  here  are  two  bedrooms.    One  opens  off  the  living-room 


MM 


R.  R.  MD WARDS  BLDG.  CO.,  6408  Hollywood  Blvd.,  Hollywood,  Calif. 


closet.  Walnut  twin  beds, 
one  masquerading  in 
cushions  and  mauve  silk 
coverings  as  a  day-bed. 
Hyacinths  in  a  lemon- 
colored  bowl  upon  a  wal- 
nut dressing  case.  Rugs 
of  mauve  and  rose  and 
black. 

Down  the  cunning  stairs 
again    into    the  dining- 
room.  From  the  windows, 
a  view  of  rolling  hills. 
The  walls  are  cream,  as  in 
the  living-room.  The  long 
table,  with  low  benches 
instead  of  chairs,  are  of 
mahogany,  gleaming 
against  the  showy  linen 
and  damask.  Crystal 
candle-sticks  upon  the  buf- 
fet.   A  carpet  of  garnet 
velvet  lending  royal  rich- 
ness to  the  room. 

And  then  the  kitchen. 
A  kitchen  for  the  born 
housewife  to  dream  over! 
Everything  hideable 
tucked  away  behind  doors; 
a  broom  closet ;  wall  iron- 
ing board;  cooler.  And 
so  handy  to  the  kitchen 
that  steps  are  not  wasted 
is  the  breakfast  room, 
with  cheerful  breakfast 
nook. 


ttOiywooi  SCREENLAND  Caiifi«a» 


99 


Choose  ^four 

!all  ^Winter 

Wardrobe  , 

urn 

PHILIPSBORNS 

StyleBook! 

®)kts  IRENE  CASTLES  Idessage 
to  the  ~Wome7j  of  America 

TO  YOU  who  have  admired  the  exquisite  taste  in  dress  displayed  on  stafee  ^  screen 

I  x.     x,  LRFTOTl  CASTLE  "the  best  dressed  woman  in  the  world,  we  otter  the 

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52 


aajr-ooi  SCREENLAND  Ciifi 


LOVE  INSURANCE 
By  F.  C,  Portland,  Ore. 
ILTOU  have  struggled  with  the  germ 
-I  of  an  idea  and  it  has  got  the  best  of 
you.    With  the  thought  of  love  insur- 
ance, as  you  have  applied  it,  a  skilled 
writer  might  talc;:  it  as  a  starting  point 
and  work  up  an  amusing  farce.  But 
your  story  is  scattered,  weak  and  quite 
worthless.    Please  do  not  be  offended. 
The  only  way  we  can  help  in  this  de- 
partment is  to  be  utterly  frank  and 
sincere. 


TRIGGER  FINGERS 
By  L.  B.  D.,  Chey  enne,  Wyo. 
TF  we  were  the  scenario  editor  at  a 
■1  studio  such  as  Universal  City,  where 
many  westerns  are  used,  we  would  give 
careful  consideration  to  this  dandy  little 
plot  of  yours.    However,  before  submit- 
ting it,  try  to  sharpen  your  characteriza- 
tions with  subtle  action  and  introduce 
whimsical  lines  that  will  suggest  added 
action  and  also  furnish  material  for  sub- 
titles.   The  margin  of  added  value  that 
you  may  be  able  to  give  to  it  by  more 
careful  work  may  sell  it.   Go  to  it. 


WANDERLUST 
By  J.  C,  Philadelphia,  Pa. 
"\^OU  haven't  a  very  clear  idea  what 
•1  it's  all  about,  yourself.  Your  story 
is  not  logical.  For  instance,  Thomas' 
mother  is  blind ;  the  postmaster  robs  her 
when  she  gives  him  Tom's  letters  to  open 
and  read.  Why  didn't  Tom  learn  of 
this?  You  haven't  explained.  Also,  in 
a  gun  battle  between  Tom  and  the 
crooks  she  interferes — but  you  have  told 
us  that  she  is  too  blind  to  read  letters. 
You  haven't  done  very  much  thinking  on 
W anderlust. 


THE  FAIR  INVADER 
By  E.  E.,  Victoria,  B.  G. 
T>  EAD  what  you  have  sent  us  and  see 
A.Vhow   vaguely   you   have  written. 
How  do  you  expect  a  scenario  editor  to 
get  anything  out  of  it?    You  say  Ade- 
laide is  a  racer.    But  we  cannot  tell  if 
she  is  a  horse,  a  yacht,  an  automobile  or 
a  trained  flea. 


THE  HAT  SALE 
By  F.  B.,  Vallejo,  Calif. 

WE  don't  "go  50-50"  on  scenarios. 
This  department  is  a  service  for 
readers  and  not  a  sales  agency.  Anyway, 
your  contribution  has  no  value. 


Photograph  by  Spurr. 


MY  MAIDEN  EFFORT 

By  BRADLEY  KING 
Incc  Writer 

Anther  of  "I  Am  Guilty,"  "Jim,"  "A  Man  of 
Action,"  "Ncivs"—all  originals—and  a  num- 
ber of  adaptations. 

Ilfh<^,pe^d  seYera'  years  ago  and  because 
*  of  the  old  saying,  "fools  rush  in,  etc."  I 
was  in  Coronado  and  heard  there  was  a  pic- 
ture company  producing  there.  Having  Just 
come  from  New  York,  it  sounded  thrilling 
and  exciting,  so  I  slid  out  from  under  watch- 
ful eyes  and  went  down  to  Investigate.  ^ 
After  much  maneuvering  I  qot  inside  was 
asked  my  business,  and  having  'none,'  was 
almost  turned  out,  when  a  young  man  with 
frantic  eyes  and  wild  hair,  wh5  carried  a 
\  p^peii!  and  l00,<ed  frightfully  im- 
»Sll  »'  t,°°,k  P|tv J*"  nie  and  led  me  onto  the 
sets.  '  I  learned  he  was  the  author  and 
scenario  writer,  in  fact,  he  was  the  "staff." 
and  we  became  real  chummy.    He  took  me 

ch»i°  /  office'  w,hlcn  was  P"e°"  nigh  with 
sheets  of  paper.  They  were  everywhere  but 
on  the  ceiling,  and  noting  my  amazement,  he 
told  me  in  his  breathless  way  that  he  couldn't 
typewrite,  that  the  girl  who  did  his  work 
was  sick  and  he  couldn't  get  another— that 
the  director  was  howling  for  the  script  and 
that  he  didn't  know  what  to  do.  I  had  the 
bright  idea.  I  told  him  neatly  that  I'd  type- 
write  his  story  if  he'd  teach  me  how  to  write 
a  scenario. 

I  don't  think  he  waited  for  me  to  finish. 
He  cleared  off  the  typewriter  table  by  the 
simple  method  of  scraping  everything  on  it 
onto  the  floor,  dragged  out  the  machine  from 
beneath  his  desk—hurled  an  eraser  at  me 
together  with  a  motley  assortment  of 
script"  which  he  assured  me  I'd  "get  the 
hang  of,"  and  left  me  to  my  own  devices. 

It  took  him  a  day  or  two  to  discover  that 
I  couldn't  typewrite  any  better  than  he 
could,  but  he  was  game.  We  struggled 
through  and  I  wrote  my  own  story,  which  he 
helped  me  whip  into  shape,  it  was  a  three- 
reel  "meller-drama,"  with  the  accent  on  the 
meller,"  but  I  received  $20  for  the  story  and 
continuity.  I  was  so  surprised  that  I  rushed 
home  and  told  about  It,  which  resulted  in  my 
being  whisked  back  to  New  York. 

The  wild-eyed  young  man  was  the  now 
well-known  Julian  Luis  Lamothe,  and  the 
story  was  "The  Playthings  of  the  Gods." 


THE  VOW 
By  II.  V.,  North  Platte,  Neb. 

XTliRY  long  ago,  so  long  ago  that  we 
▼   have  forgotten  the  author  and  can- 
not credit  him,  we  read  an  article  ana- 
lyzing writers.    There  are  three  reasons 
why  people  seek  to  have  their  thoughts 
in  print,  the  article  said.    The  first  and 
by  far  the  most  prevalent  urge  is  vanity. 
To  express  one's  views  in  print  is  the 
impulse  that  burdens  the  mail  of  news- 
paper editors.    It  is  the  impulse  that,  if 
successful,  leads  a  fairly  able  writer  to 
professional   writing  —  commercial  au- 
thorship.   Then  we  have  the  second  rea 
son  for  writing:  to  make  money.  But 
the  third  subdivision  of  authorship  lies 
far  beyond  the  other  two.    Here  we  find 
people  who  are  writing  because  they 
have  something  to  say.  Of  the  thousands 
of  amateur  scenario  writers,  very  few 
indeed  have  anything  at  all  to  say;  nor 
is  anything  they  say,  in  most  cases,  at  all 
worth  while  saying. 

But  you  seem  to  have  something  to 
say.  Your  material  is  original  beyond 
any  doubt  of  ours.  You  have  written 
convincingly  and  entertainingly  in  one  of 
the  greatest  fields  of  human  interest: 
marriage. 

It  is  not  always  an  interesting  and 
well-plotted  story  that  makes  a  motion 
picture,  however.   The  abstract  qualities 
of  thought  on  which  you  build  so  much 
contains    very    sparse    screen  action. 
Surely  one  who  has  written  as  you  have 
done  can  perceive  the  qualities  that  make 
a  story  suitable  for  motion  picture  use. 
Symbolize  thought  expression  in  action 
—make  pictures  of  it.     This  general 
comment    will    apply    to    your  story 
throughout.    Maintain  the  arrangement 
you  have  now,  because  construction  fol- 
lows expression.     Develop  your  story. 
It  is  worth  it. 


If  you  are  a  subscriber,  or  If  you  send 
.  .  a.~pa,d  'inscription  *o  SCREEN- 
ir^^iSwyoUia.r?  en*'Ved  *o  one  personal 
detailed  criticism  of  your  story  on  this 
page  by  our  scenario  expert — one  criti- 
cism for  each  subscription. 

NO  CHARGE  whatsoever  Is  made 
for  this  service. 

Questions  of  literary  phases  of  the 
screen  are  also  answered  in  this  de- 
partment. For  this  service  you  do 
NOT  have  to  be  a  subscriber. 

Manuscripts  submitted  for  criticism 
are  returned,  if  return  postage  is  en- 
closed, within  two  weeks,  but  the  large 
number  of  scenarios  submitted  often 
make  It  Impossible  to  publish  the  criti- 
cism in  the  first  issue  following  re- 
ceipt of  the  manuscript  In  this  de- 
partment. 

Address  all  manuscripts  to  "Scenario 
Editor,"  SCREEN  LAND,  5540  Holly- 
wood Boulevard,  Hollywood,  Calif. 


Mbr™*  SCREENLAKD  Crfifl™* 


™ 

53 


The 

SCENARIO 

WRITER'S 

CORNER 

By  Frederick  Palmer 


BEWARE  OF  COINCIDENCE.  Per- 
laps  tne  most  common  fallacy  m  dra- 
11  *  <e  structure  to  bo  found  in  the  work 
of  the  amateur  photoplay  wrignt  is  tne  un- 
warranted use  cf  coincidence.  Except  in 
rare  absolutely  unavoidable  cases,  niot,- 
vat  on  which  is  based  on  coincidence 
weakens  the  entire  plot.  All  the  action  or 
vour  story  snould  spring  naturally  ana 
logically  lrom  the  characters  themselves; 
their aims,  desires  and  ambitions  and 
no:  from  the  agency  of  any  external 
force,  such  as  chance  or  coincidence,  over 
whicn  they  have  no  control. 

"he  amateur  screen  writer  should  keep 
his  characters  active.  He  should  make 
them  "work  cut  their  own  salvation  A 
great  dramatic  critic  has  wisely  said  that 
the  degree  to  which  a  story  is  dramatic 
depends  upon  the  degree  to  which  the 
hero  .s  the  architect  of  his  own  fortunes. 
And  this  applies  to  the  other  characters 
|  as  well. 

REMEMBER  that  what  may  be  pos- 
sible or  even  probable,  in  real  life, 
will  be  considered  -dramatic  lmplaus.- 
toility"  bv  the  audience  if  it  is  not  defi- 
nitely based  on  the  laws  of  cause  and 
effect  Never  resort  to  chance,  or  bate, 
or  Providence  to  bring  about  a  certain 
situation,  but  let  the  initiative  and  the 
purpose  of  one  or  more  of  your  characters 
or  ng  it  about.  This  will  make  your  story 
compact,  logical,  convincing. 

The  vhotoplaywright  must  continually 
seek  truth  in  characterization.  He  must 
endeavor  to  place  real  people  in  real  situ- 
ations and  then  have  them  act  as  they 
would  act  in  those  situations  in  real  l.te. 
Given  a  situation,  it  must  grow  naturally 
out  of  the  characters  in  it,  or  the  people 
in  the  mind  of  the  audience  must  be  re- 
modeled until  they  tit  naturally  intc .the 
situation.  This  adjustment  of  character 
and  situation,  cause  and  effect,  should  be 
the  continual  concern  of  the  photoplay- 

^t^s*' always  well  to.  test  the  situations 
of  a  story  by  determining  whether  they 
might  naturally  occur  in  the  life  of  Uw 
average  spectator.  If  they  are  lifelike 
and  pfaus  ble,  they  will  probably  lead  to 
human  and  poignant  drama.  If  the>  in 
any  way  depend  upon  chance,  or  are  sen- 
sational and  implausible,  the  result  will 
usually  be  improbable  melodrama  ot  a 
thrilling  but  unreal  kind.  Dramatic  ef- 
fects can  usually  be  better  achieved  by 
placing  real  and  likeable  characters  in 
conflict  than  by  showing,  a  conflict  be- 
tween a  hero  and  a  dyed-in-the-wool  vil- 
lain. But  there  must  be  a  marked  dra- 
matic contrast  between  the  characters. 

THE  trained  screen  writer  always  re- 
members to  center  the  interest  on  his 
principal  characters,  and  carefully  devel- 
ops and  motivates  those  characters  so 
that  they1  are  human.  He  makes  them 
individual  and  distinctive  Once  they  are 
clearly  established  and  ho  has  laid  the 
basis  of  his  story  by  forming  the  dra- 
matic triad,  the  characters  and  the  fact 
that  they  are  working  toward  a  common 
objective,  and  at  cross  purposes  should 
lead  to  strong  situat.ons.  providing  the 
author  does  not  develop  the  situations  in 
a  mechanical  fashion,  but  permits  them 
to  develop  naturally  from  the  motives  and 
desires  of  his  characters. 

In  developing  a  story,  the  would-be 
nhotodramatist  should  remember  the 
proper  "movement."  That  does  not  mean 
1  the  motion  of  the  characters,  but  rather 
the  constant  growth  of  the  plot  through  a 
seouence  of  situations  and  critical  hap- 
penings toward  the  big  climax..  To  slow 
up  vour  movement  is  fatal.  Begin  by  pre- 
senting your  characters  in  action  that  es- 
tablishes clearly  their  individual  natures 
and  relation  to  each  other,  then  gradu- 
ally develop  obstacles  which  one  faction 
places  before  another,  and  increase  the 
dramatic  tone  and  tempo  as  you  progress. 


Missing  Heirs 


You  may  be  one  of 
them.  Will  you  help 
in  this  nation-wide 
search  by  sending  for 
the  free  Van  Loan 
Questionnaire  offered 
below? 


_             .  development  it  is  now  possible  for  you  to  know 

THE  Palmer  Photoplay  Corporation  is  in  almost'  at  once  whether  you  have  any  gift  of  cre- 

the  pr.sition  of  a  lawyer  who  has  been  ative  imagination,  and  whether  it  will  pay  you  to 

commissioned  to  find  the  missing  heirs  to  a  T^  inv(.ntion  ;s  a  Questionnaire  such  as  was 

„„.,  r^ate  used  by  the  .  United  States  Army  in  establishing 

great  cs.aie.  ^      aIjfica(;ons  0f  officers  and  men  in  the  war. 

The    motion    picture    industry    must    have  This  Questionnaire  has  been  created  with  special 

inc    mono      i  reference  to  the  needs  of  the  motion  picture  mdus- 

ncw  scenarios.    It  must  nave  men.       »  -  H   H  , 

,'an  Loan,  the  celebrated  1  botoplay- 
continuc  to  hold  its  vast  audiences.  It  must  wright,  and  IWessor  Malcolm  MacLean,  formerly 
have  them  if  its  great  studios  and  investments  °f  ^t^^wnhorobligation,  to  send  for 
-ire  not  to  become  worthless.  It  is  willing  to  of  this  questionnaire.  We  ask  you  to 
art  am.  j^fc*".  \t  U  renrfv  to  co  operate  with  the  new  forces  in  the  motion  pic- 
pay  fortunes  for  these  stones,  it  is  ready  to  J^r™*^.  by  matii.g  this  free  test  of  your  cre- 
crown  the  successful  scenario  writers  with  uive  taient  ;„  y0Ur  own  home, 
fame  and  maintain  them  in  luxury.  Who  are  Wg  sha),  be  frank  w|th  you 
these  people  who  can  tell  a  Story?  Where  ^  Palmer  Photoplay  Corporation  is  the  largest 
»k->,-?  seller  of  motion  picture  scenarios  in  the  United 
are  tney  .  _  States  It  is  in  business  to  secure  scenarios  for 
To  find  an  answer  to  these  vital  questions  which  produccrs  will  pay  large  sums. 

;nrl..«trv   has   commissioned   the   Palmer  The  Educational  Department  of  the  Corporation 

the    industry    nas    coiiuiii.mo  organized  to  train  men  and  women  of  talent  to 

Photoplay  Corporation  to  conduct  one  ot  the  ts  "rgan.zei^  thev  caJ,  produee  such  scenarios 

most  excitine  searches  ever  undertaken.  Therefore  the  Kducational  Department  must  and 

ii.om             B  ,        ,    .           frankly  with  those  who  fill  in  the 

We  use  the  words  "exciting  search    ad-  lf  your  taien,  is  not  sufficient  to 

visedly      Can   vou   imagine   anything  more  justify  you  in  going  on,  you  will  be  promptly 

exciting  than  to  find  the  talent  "°«  *t  the  other  hand,  you  should  be  one  of  the 

$10,000  prize  in  a  nation-wide  scenario  con  th»*'^ds'  now  „nknown  who  are  to  be  important 

tes^     To  discover  in  a  Montana  housewife  faftors  in  this  second  era  of  the  motion  picture 

t;„m,.f,  to  tell  a  story  and  to  hand  her  the  industry,  the  facilities  of  the  Educational  Depart- 

$££5  'check  as  thi  reward  of  a  talent  ^  *  ^ 

^tr^jfffSa  St  At  .east        y^f-th,  test  «.  free 

r^eT  a  pri vatePsecretarv  in  Pennsy, vain.  Surely ^thjs  simp,  test^ won,  trying  K^dure 

a  Chicago  Red  Cross  worker,  when  lifted  Slid  invested  a  stamp  and  a  pleasant 

denlv  to  an  earning  power  beyond  their  wild-  hour  of  mcntai  discipline.    On  the  other  hand 

Ll^ml?     Or  of  the  inmate  of  a  pentten-  success  with  the  quest.onna.re  may  open  the  way 

csE  dreams?    Or  ot  tne  mi naic u       £  to  fame  and  immense  reward. 

tiarv   whose  scenarios   are  eagerly    nougnt.  ^  ^  ^s  ^  Hght,v  the  chance  to  share  in 

These  are  actual  incidents  in  this  combing  ot  {his  second  era  0f  the  motion  picture  industry, 

the  country  for  men  and  women  with  story-  Send  today  for  the  Van  Lo*^2"t^-™~- 

telling  power.  m-»mw».mmm.mmm.m».^mm 

And  still  the  search  goes  on.    Hundreds  of  p^LMER    PHOTOPLAY  Corporation 

thousands  of  copies  of  Jan  Loan  ; Que*"  ^  124  W.  4th  St.,  hot  An«ele»,  Cal. 
tionnaire  must  be  distributed  this  year,  will  """^^  p,  uAS1J  scnd  me,  without  cost  or  ob- 
you  send  for  your  copy?  \  ou  may  be  one  or  -^p^kv  ligation  on  my  part,  your  question- 
ing thousands  (out  of  the  hundreds  of  thou-  tWff^m,  naire  I  will  answer  the  questions  in 
Sndt)  for  whim  the  rewards  of  this  new  era  flTfi|  it  fArft**  -  2TAS?!K 
wait.  ^ilZTEgr     thcr  information  about  your  Course 

The  Van  Loan  Questionnaire  and  Service, 
a  big  new  invention 

Not  every  man  and  woman  can  writeSloriBfor  Name   . .. -~  MCUrs.',  Vr  Wisi 1  " 
the  screen.     In  the  past  many  who  had  no  real 
talent  or  chance  for  success  have  wasted  time  in 

fruhh-s  trying.     Such  waste  of  time  and  money  ...   

is  no  ionger  necessary.     By  an  interesting  new  Address    SD.g 

"*  Copyright.  192.',  Palmer  Photoplay  Corporation. 


iH 


"^br™*-  SCREENLAND  Caiifi 


AMOUR  fait  beaucoup,  mais  argent 
*  *■  fait  tout;  or,  to  be  plainly  outspoken, 
love  ,s  mighty,  but  money  is  almighty, 
in.s  French  idiom  is  more  or  less  rele- 
vant to  Your  Own  Page  letters. 


Why  do  you  write  Your  Own  Page  let- 
ters—to win  the  $25  prize?  Many  admit 
it.  Here  are  extracts  from  three  which 
came  this  month: 


The  $25  PRIZE  LETTER 

A  star  of  our  own  in  foreign  s^ttine 
X     f  °"'d  Mr.  Pennsylvania  as  much 

as  the  Idaho  young  lady  who  sends  us 
tins:  I  idly  wondered  what  trite  com- 
ments Charlie  Chaplin  would  make  on  a 
threadbare  subject.  But  behold!  I  found 
no  commonplace  travelogue,  no  jumble  of 
meaningless  phrases,  but  a  revealing 
glimpse  into  the  soul  of  an  artist."  Are 
you  reading  this  remarkable  diary' 


The  reason  I  write  this  letter,"  says 
fu  Oklahoma  reader,  "is  because  I  need 
that  $25,  as  the  soldiers'  bonus  hasn  t 
been  passed  yet." 


A  really  helpful  Texas  critic  writes- 
l  do  not  expect  the  prize  because  avail- 
ing myself  of  your  invitation  to  be  frank 
may  prove  distasteful.    I  notice  all  the 
winning  letters  throw  bouquets  " 


I  am  trying  for  the  prize,"  a  New 
Jersey  writer  declares,  "but  nevertheless, 
this- is  a  true  expression  of  my  thoughts!" 

So  Your  Own  Page  now  begins  an 
Anti-Bouquet  Contest.  There  will  be  no 
prize  offers.  Write  and  tell  us  exactly 
what  you  think  of  Screenland.  Don  t 
trouble  to  mention  the  things  that  you 
like  about  the  magazine.  State  the  things 
you  co  not  like.   Be  just  as  severe  as  you 


Improvement  follows  criticism  Scrsen 
land  will  constantly  improve;  but  it 
needs  your  help,  on  your  page?  Will  the 
love  of  the  task  bring  a  letter  from  you 
just  the  same  as  it  did  when  there  was 
-a  money  offer  for  the  best  ones?  Afte- 

almighty?116  Frenchraan  *  money 


One  of  the  mottoes  of  Screenland  policy 
has  been  a  surprise  in  every  issue." 
there  will  be  many  surprises  on  this 
page  next  month,  don't  you  think? 


A.  large  headline  does  not  always  mean 
a  long  story.  Last  month  Your  Own 
Page  began  on  one  column  of  the  con- 
tents page.  But  there  was  just  as  many 
comments  from  readers  quoted  as  in  any 
other  issue. 


Im  glad  you  don't  bother  with  an 
Answer  Man,"  is  the  encouraging  com- 
ment of  F.  C.  of  New  York  City.  "They 
all  write  alike."  F.  C.  will  find  Patrick 
rarsney  a  wonderful  answer  man,  but  he 
doesn't  meet  the  description  of  "writing 
alike.  See  if  some  of  your  questions 
^not-answered  this  month  in  Secrets 
ot  the  Stars — on  Page  17. 


"I  do  not  care  for  your  cover  designs  " 
frankly  remarks  F.  D.  of  Vinita,  Okla- 
homa But  this  letter  was  written  before 
Mr.  Ruttan  s  remarkable  oil  portrait  of 
Wm.  S.  Hart  was  finished.  Perhaps, 
after  seeing  Screenland  for  October,  our 
Vinita  friend  will  cancel  this  complaint 


Editor  Your  Own  Page: 

Over  four  months  ago  I  bought  a  copy 
of  SCREENLAND  at  the  newsstand  bs- 
cause  I  saw  a  large  picture  of  my  favorite 
movie  actor  in  it. 

When  I  get  home  I  started  in  slowly  to 
go  through  the  magazine.  It  was  the 
first  time  I  had  ever  seen  a  SCREEN- 
LAND,  but  the  minute  I  started  1  had  a 
feeling  that  something  was  wrong— it 
wasn't  like  ether  movie  magazines!  The 
pictures,  articles,  departments,  even 
photos  (the  coloring  of  them)  was  differ- 
ent.  |n  two  minutes  I  was  so  absorbed 
that  I  couldn't  have  been  pulled  away 
from  it. 

I  immediately  e'ecided:  "This  is  the 
movie  magazine  for  me."  So  I  sent  in  my 
subscription  at  once.  And  the  very  first 
issue  I  received  was  worth  the  price  of  a 
year's  subscription. 

I  like  YOUR  OWN  PAGE  very  much, 
and  wish  there  could  be  more  than  ONE 
page  of  it— even  if  it  would  be  necessary 
to  call  it  YOUR  OWN  PAGES!  I  think 
it  is  about  the  best  thing  in  the  magazine. 

I  always  turn  eagerly  to  the  Portrait 
Gallery.  It  seems  that  the  pictures  are 
so  much  clearer  and  prettier  colored 
than  those  in  other  magazines.  1  wish 
the  gallery  contained  twice  as  many  pic- 
tures every  month. 

I  like  LITTLE  HINTS  FOR  PLAY- 
GOERS and  LITTLE  HINTS  FOR 
BOOKLOVERS  very  much,  for  I  am  both 
— a  book  lover  and  a  playgoer. 

Everybody  in  the  family  can  find  in- 
spiration in  their  particular  field  of  work, 
study  or  play,  in  SCREENLAND. 

Since  I  subscribed  I  have  become  a 
confirmed  movie  fan.  I  had  always  taken 
other  movie  magazines  and  reading 
THEM  did  not  make  me  a  fan  so  that  in 
itself  proves  SCREENLAND'S  merit, 
does  it  not?    I  await  each  copy  eagerly! 

I'm  afraid  I've  written  an  awfully  long 
letter,  but  I  just  had  to  tell  you  how 
much  I  like  the  magazine.  All  my  friends 
like  it,  too. 

Yours  sincerely, 

(MISS)  ENID  CORPE, 

Colfax,  III. 


So  many  readers  are  expressing  their 
interest  in  Louis  Weadock's  "M-  Bloom" 
stones  of  the  studios  that  we  can't  help 
mentioning  "Punish  the  Villain,"  to  ap- 
pear m  Screenland  for  October.  The 
editors  think  this  latest  "Mr.  Bloom" 
story  is  the  best  one  of  them  all.  Don't 
miss  it. 


They  are  devoid  of  that  exaggeration 
and  vagueness  found  in  most  movie  fic- 
tion," writes  H.  M.  of  St.  Joseph,  Mo.,  in 
commenting  on  the  Bloom  stories.  It  is 
because  they  are  real  stories! 


C.  K.  of  Minnesota  will  be  disap- 
pointed perhaps  in  the  Anti-Bouquet 
Contest  beginning  now  on  this  page  be- 
cause he  suggests:  "Why  not  offtr'two 
prizes  lor  Your  Own  Page  letters?"  We 
are  compromising  by  offering  none,  C.  K. 

Censorship  and  ridicule  of  the  movie 
industry  is  built  upon  prejudice  and  ig- 
norance says  W.  E.  of  Kent,  Texas,  in 
an  entertaining  letter.  One  way  to  re- 
move prejudice,  he  adds,  is  to  read 
Screenland.  "I  got  wise  to  the  fact  that 
the  screen  Is  the  greatest  power  in  hit- 
:mS  the  buirs-eye  of  human  appreciation, 
m  the  May  Screenland,"  he  tells  us.  And 
of  course,  we  agree. 


"I  admire  you  for  being  what  I  call  a 

fc^uGrl  Say*  Mrs-  C-  A-  °f  Danville, 
Kentucky  (where  they  ought  to  know 
Pioneers  when  they  see  one).  "No  othe  • 
magazine  has  yet  the  courage  to  elimi- 
nate taffy  interviews  which  anyone  with 
a  gram  of  intelligence  must  know  are 
frequently  the  result  of  a  sorely-tried 
writers  imagination.  Instead,  you  fill 
your  pages  with  excellent  articles  " 


Just  what  is  to  be  gained  by  them" 
writes  A.  F.  of  Kirkland,  Washington,  in 
a  rather  indignant  protest  against  Con- 
fessions of  a  Star  .Interviewer.  "They 
are  unsportsmanlike.  They  remind  me 
of  the  rocking  chair  brigade  at  a  summer 
notel.  I  read  and  enjoy  Screenland  im- 
mensely and  every  department  is  good, 
but  I  feel  that  I  must  voice  this,  my  onlv 

fhlt\an,Ce  "^rT\ese  are  the  sort  of  Otters 
that  help.  We  hope  A.  F.  will  let  us  hear 
from  him  in  the  Anti-Bouquet  Contest. 


We  ought  to  have  Christopher  Colum- 
bus on  the  cover  to  please  a  Pennsyl- 
vania reader,  who  wants  an  "all-American 
issue."  "We  want  to  see  more  of  our 
own  authors  and  other  celebrities,  less  of 
foreign  stars,"  the  letter  states. 


Chiyo  Yoshn  of  Tokyo  (Japan)  writes 
to  tell  us  how  he  darted  into  a  book- 
seller s  one  day  to  avoid  being  run  down 
by  an  unruly  horse.  "In  an  excess  of  joy 
to  be  safe,  I  bought  your  magazine,"  he 
writes  "So  it  happened  that  I  first  read 
Screenland  by  accident." 


HJlr^ooi.  SCREENL&ND  (WW* 


55 


Science  Discovers  the  Secret 
of  Caruso's  Marvelous  Voice 


The  Hyo-fflo»*o« 
(Singing)  Mosde 


Caruso's  Throat 
and  Yours 

Why  is  it  that  the  humble  peas- 
ant boy  of  Italy  became  the  great- 
est singer  of  all  time?  This  dia- 
gram of  his  throat  will  show  you. 
Caruso's  marvelous  voice  was  due 
to  a  superb  development  of  his 
Hyo-Glossus  muscle.  Your  Hyo- 
Glossus  muscle  can  be  developed 
too!  A  good  voice  can  be  made 
better  —  a  weak  voice  become 
strong  —  a  lost  voice  restored  — 
stammering  and  stutterii.g  cured. 
Science  will  help  you. 


Diagram  of  the  Normal 
Throat  Shooing  the  Com- 
plete Vocal  Mechanism. 


Diagram  of  Caruso's 
Showing  the  Superb  Development 
of  his  Hyo-Qlossus  Muscle. 


Thettyo-Gk"" 


We  Guarantee — 
Your  Voice  Can  Be  Ii 


iproved  100% 


EVERY  normal  human  being  has 
a  Hyo-Glossus  muscle  in  his  or 
'  her  throat.    A  few  very  fortu- 
nate persons— like  the  late  Caruso 
—  are  born  with  the  ability  to  sing 
well.   But  even  they  must  develop 
their  natural  gifts.    Caruso  had  to 
work  many  years  developing  that 
muscle  before  his  voice  was  perfect. 
Whether  your  voice  is  strong  or 
weak,  pleasant  or  unpleasant,  melodi- 
ous or  harsh,  depends  upon  the 
development  of  your  Hyo-Glossus 
muscle.  You  can  have  a  beautiful  sing- 
ing or  speaking  voice  if  that  muscle 
is  developed  by  correct  training. 

Prof.  Feuchtinger's 
Great  Discovery 

Professor  Feuchtinger,  A.  M.  —  de- 
scendant of  a  long  line  of  musicians 

 famous  in  the  music  centers  ot 

Europe,  Munich,  Dresden,  Berlin, 
Bayreuth,  Vienna,  Paris  and  Florence, 
for  his  success  in  training  famous 
Opera  Singers  -  discovered  the  secret 
of  the  Hyo-Glossus  muscle.  Dissat- 
isfied with  the  methods  used  by  the 
maestros  of  the  Continent  who  went 
on  year  after  year  blindly  following 
obsolete  methods,  Frofessor  Feuch- 
tinger devoted  years  of  his  life  to 
scientific  research.   His  reward  was 
the  discovery  of  the  Hyo-Glossus, 
the  "Singing  Muscle". 
Professor  Feuchtinger  went  even 
farther  into  the  Science  of  Singing. 


He  perfected  a  system  of  voice  training 
that  will  develop  your  Hyo-Glossus 
muscle  by  simple,  silent  exercises 
right  in  your  own  home. 

Grand  Opera  Stars 
Among  His  Students 

Hundreds  of  famous  singers  have 
studied  with  Professor  Feuchtinger. 
Over  10,000  happy  pupils  have 
received  the  benefits  of  his  wonder- 
ful training. 

There  is  nothing  complicated  about 
the  Professor's  methods.    They  are 
ideally  adapted  for  correspondence 
instruction.   Give  him  a  few  minutes 
each  day;   The  exercises  are  silent. 
The  results  are  sure. 
The  Perfect  Voice  Institute  guaran- 
tees that   Professor  Feuchtingeir's 
method  will  improve  your  voice  100%. 
You  are  to  be  your  own  judge  — 
take  this  training  -  if  your  voice  is  not 
improved  100%  in  your  o«m  opinion, 
we  will  refund  your  money.  _,„„,„„, 


A  Beautiful 
Voice  for  YOU 

You  do  not  know  the  possi- 
bilities of  your  voice. 
If  you  want  to  sing— if  you 
have  always  felt  that  you  could 
sing  but  lacked  the  proper 
training  because  you  had  not 


the  time  nor  the  means  to  study- 
here  is  your  chance.  Professor  Feuch- 
tinger's  course  will  improve  your 
voice  100%.  You  can  now  learn  to 
sing  at  a  very  small  cost  and  in  tne 
privacy  of  your  own  home. 
If  you  want  to  improve  your  speak- 
ing voice  — if  you  stammer  or  stutter 
—Professor  Feuchtinger  will  help  you. 

Professor  Feuchtingeir's 
Book  "Voice  CuiWe"Free 

Send  us  the  coupon  below  and  we'll 
send  you  FREE  this  valuable  work  on 
the  Perfect  Voice.  Do  not  hesitate  to 
ask.  Professor  Feuchtinger  is  glad  to 
have  us  give  you  this  book  and  you 
assume  no  obligations  whatever  by 
sending  for  it. 

You  will  do  yourself  a  great  and  last- 
ing good  by  studying  this  book  Voice 
Culture".  It  may  be  the  first  stepin 
your  career.  Do  not  delay.  The 
number  of  these  books  is  limited. 
Send  for  "Voice  Culture"  today. 
naauaiuniuiiunmiumiiuiiiuNiiuMuiunNU  uHiuimHiuiM.iiiiiuin.iinuii.ui.iui.iJ 


Perfect  Voice  Institute 

Studio  1116,  1922  Sunnyside  Ave.,  Chicago 

me  most.   I  assume  no  obligation,  whatever. 

□  Singing    □  Specking    □  Stammering    □  Weak  Voice 


Name. 


Perfect  Voice  Institute 

1922  Sunnyside  Ave.,  Studio  1116,  Chicago,  111. 


Address— 


56 


aajywooA  SCREENLAKD  C»iifi™i» 


nlyliat 
fe-Out  Door  Life 

—  because  it's  the  most 
practical.  Right  up  to  the 
minute  in  style.  That's  why 
thousands  of  girls  are  wear- 
ing them.  Simply  great  for 
sport  wear.  It  stays  put — 
looks  charming  —  puts  a  fin- 
ishing touch  to  your  out- 
door appearance.  Looks 
wonderful  on  PriscillaDean. 
It  will  look  just  as  w  Jl  on 
you. 


The  hat  with  the 

rakish, 
jaunty,  carefree 
appearance 


Prisciila  Dean 

Tarns 
come  in  two 
sizes — «k  for 
yotmg  ladies, 
the  oilier  for 
children 


For  yottr  vaca- 
tion—a Prisciila 
Dean  Tarn.  The 
only  practical 
hat  for  girls  Kith 
bobbed  hair 


And  such  wonderful  colors! 
You  ca-i  select  one  to  harmonize 
with  any  costume  —  whec her 
you're  motoring,  hiking,  boat- 
ing, golfing,  playing  tennis  — in 
fact,  it  s  the  on/y  hat  for  strcec 
wear. 

Prisciila  Dean  Tarns  arc 
made  of  the  finest  quality  s-iede 
cloth  -  a  soft  pliable  material  that 
drapes  so  gracefully  at  any  an  gle. 
Always  has  that  trim,  tailor-mide 
look  because  the  inner  clastic 
band  makes  it  fit  any  head  com- 
fortably. A  neat  band  of  gros- 
grained  ribbon  and  a  cute  little 
bow  complete  the  picture. 

Your  wardrobe  is  not  com- 
plete without  a  Prisciila  Dean 
Tam.  It  costs  only  $1.50.  No 
reason  why  you  should  not  have 
at  least  one  besides  your  regular 
hat. 

The  best  stores  carry 
Prisciila  Dean  Tarns.  Bur  if  you 
cannot  get  it,  send  £1.50  with 
the  coupon  or  letter.  Be  sure  to 
state  color  and  whecher  for  young 
lady  or  child. 

Look  for  the  name 
PRISCILLA  DEAN 
inside  the  band 


Twelve  Popular  Shades 
Red,  Pheasant,  Co- 
penhagen, Nary, 
Black,  Sand,  Jade,  I 
White,  Orange, 
Brown,  Orchid,Coral 


BAER  BROS.  MFG.  CO., 

9c6  W.  Lake  St.,  Chicago,  111. 
Enclosed  is  S,  50  (Canada,  #2  00)  for  which  dI  Mse 
send  me  a  PRISCILLA  DEAN  TAM 

In  vr,  For_  

Color  Miss-  o/Caud- 

Namc 


I  Address—. 


Money  refunded  if  desired. 


My  Trip  Abroad 

(Continued  from  Page  31.) 


to  him  considerably.  I  feel  a  sort  of 
master  of  the  situation.  It's  a  comfortable 
feeling.  Is  his  reticence  real  or  is  this 
some  wonderful  trick  of  his,  this  making 
his  guest  feel  superior. 

His  tired-looking,  sensitive  eyes  at  first 
seem  rather  severe  and  serious,  but  sud- 
denly I  am  aware  of  something  keen, 
quick  and  twinkling  in  them.  His  wife 
has  arrived.  A  very  young  ladv  of  great 
charm,  who  makes  you  feel  instantly  her 
artistic  capabilities  even  in  ordinary  con- 
versation. 

Shortly  after  his  wife  comes  in  Burke 
and  I  leave,  I  feeling  very  much  the  tour- 
ist in  the  hands  of  the  supercity  guide. 

"What,  where— anything  particular  that 
I  want  to  see?" 

This  rather  scares  me  but  I  take  it  as  a 
challenge  and  make  up  my  mind  that  I 
will  know  him.  He  is  difficult,  and  some- 
how, I  don't  believe  that  he  cares  for 
movie  actors.  Maybe  I  am  only  possible 
copy  to  him  ? 

He  seems  to  be  doing  me  a  kindness  and 
I  find  myself  feeling  rather  stiff  and  on 
my  best  behavior,  but  I  resolve  that  before 
the  evening  is  through  I  will  make  him 
open  up  and  like  me,  for  I  am  sure  that 
his  interest  is  well  worth  while. 

I  have  nothing  to  suggest  except  that  we 
ramble  along  with  nothing  deliberate  in 
view.  I  feel  that  this  pleases  him,  for  a 
light  of  interest  comes  into  his  eves,  chas- 
ing one  of  responsibility.  We"  are  just 
going  to  stroll  along. 


BAER  BROS.  MFC. CO 

. MFCS  °f  phi  sen  ,  ^  aE%X J>.g- 


AS  Burke  and  I  ramble  along  toward  no 
place  in  particular,  I  talk  about  his 
book.  I  have  read  Limclwuse  Nights  as 
he  wrote  it.  There  is  nothing  I  could  see 
half  so  effective.  We  discuss  the  fact  that 
realities  such  as  he  has  kept  alive  seldom 
happen  in  a  stroll,  but  I  am  satisfied.  I 
don't  want  to  see.  It  could  not  be  more 
beautiful  than  the  book.  There  is  no  re- 
action to  my  flattery.  I  must  watch  good 
taste. 

Passing  up  my  obvious  back-patting,  I 
feel  that  he  is  very  intelligent,  and  I  am 
silent  for  quite  a  while  as  we  stroll  along 
toward  Stephney.  There  is  a  greenish 
mist  hanging  about  everything  and  we 
seem  to  be  in  a  labyrinth  of  narrow  alley- 
ways, now  turning  into  streets,  and  then 
merging  into  squares.  He  is  silent  and  we 
merely  walk. 

And  then  I  awaken.  I  see  his  purpose. 
I  can  do  my  own  story — he  is  merely  lend- 
ing me  the  tools.  And  what  tools  they 
are!  I  feel  that  I  have  served  an  ample 
apprenticeship  in  their  use,  through  merely 
reading  hi-;  stories.    I  am  fortified. 

It  is  so  easy  now.  He  has  given  me  the 
stories  before.  Now  he  is  telling  them 
over  in  pictures.  The  very  shadows  take 
on  hfc  and  romance.  The  skulking,  strut- 
ting, mincing,  hurrying  forms  that  pass  us 
and  fade  out  into  the  night  are  now  be- 
coming characters.  The  curtain  has  risen 
on  Limehouse  Nights,  dramatized  with 
the  original  cast. 

There  is  a  tang  of  the  east  in  the  air 
and  I  am  tinglingly  aware  of  something 
vital,  living,  moving,  in  this  murky  at- 
mosphere that  is  more  intense  even  for  the 
occasional  dim  light  that  peers  out  into  the 
soft  gloom  from  attic  windows  and  store- 
rooms or  municipal  lights  that  gleam  on 
the  street  corners. 

Here  is  a  little  slice  of  God's  fashioning, 
where  love  runs  hand  in  hand  with  death, 
where  poetry  sings  in  withered  Mongolian 


hearts,  even  as  knives  are  buried  in  snow- 
white  breasts  and  swarthy  necks.  Here 
hearts  are  broken  casually  but  at  the  same 
time  there  comes  just  as  often  to  this  lotus 
and  the  pity,  terror  and  wonder  of  first 
love,  and  who  shall  say  which  is  pre- 
dominant? 

Behind  each  of  those  tiny  garret  win- 
dows lurks  life,  life  in  its  most  elemental 
costume.  There  is  no  time,  thought  or 
preparation  for  anything  but  the  elemental 
passions,  and  songs  of  joy,  hope  and 
laughter  are  written  into  each  existence, 
even  as  the  killings  go  on,  surelv,  swiftly. 

lnerc  must  be  a  magic  wand  forever 
doing  a  pendulum  swing  over  this  land, 
tor  the  point  of  view  often  changes  from 
the  beastly  to  the  beautiful,  and  in  one 
short  moment  the  innocent  frequently 
gather  the  sophistication  of  the  aged 
1  hese  creatures  of  life's  game  run  blithely 
along  their  course,  ignorant  of  the  past, 
joyful  in  the  present  and  careless  of  the 
future,  while  their  tiny  lightened  windows 
seem  to  wink  deliberately  as  they  make 
pinpricks  of  light  through  the  shuttered 
gloom. 

the  other  side  of  the  street  there  is 
w  stepping  a  little  lady  whose  cheap 
cotton  clothes  are  cut  with  Parisian  cun- 
ning, and  as  we  cross  and  pass  her  we  dis- 
cern beauty,  enhanced  many  fold  by  youth 
and  vitality,  but  hardened  with  premature 
knowledge.  I  can't  help  but  think  of  little 
Gracic  Goodnight,  the  little  lady  who  re- 
sented the  touch  of  a  "Chink,"  so  much  so 
that  she  filled  the  fire  extinguishers  in  his 
place  with  oil,  and  when  he  was  trapped 
in  the  blazing  building,  calmly  and  with  a 
baby  smile  upon  her  face,  poured  the  con- 
tents of  the  extinguisher  over  him  and  his 
furniture. 

There  is  'the  Queen's  theatre,  bringing 
forward  a  mental  picture  of  little  Gina  of 
Chinatown,  who  stopped  a  panic  in  the 
fire-frightened  audience  of  the  playhouse 
as  her  debut  offering  on  the  stage.  Little 
Gina,  who  brought  the  whole  neighbor- 
hood to  her  feet  in  her  joyous  dancing  de- 
light. Little  Gina,  who  at  1+  had  lived, 
laughed  and  loved,  and  who  met  death 
with  a  smile,  carrying  the  secret  of  him 
with  her. 

Every  once  in  a  while  Burke  merely  lifts 
his  stick  and  points.  His  gesture  needs  no 
comment.  He  has  located  and  made  clear 
without  language  the  only  one  object  he 
could  possibly  mean,  and,  strangely,  it  is 
always  something  particularly  interesting 
to  me.    He  is  most  unusual. 

What  a  guide  he  is.  He  is  not  showing 
me  Main  street,  not  the  obvious,  not  even 
the  sightseer's  landmarks,  but  in  this  ram- 
bling I  am  getting  the  heart,  the  soul,  the 
feeling.  I  feel  that  he  has  gauged  me 
qutckljwthat  he  knows  I  love  feelings 
rather  than  details,  that  he  is  uncon- 
sciously flattering  to  my  subtlety,  after  two 
miles  through  black,  though  lovely, 
shadows. 

Now  he  is  picking  the  spots  where  lights 
are  shining  from  the  fish  shops.  He  knows 
their  locations,  knows  their  lights  because 
he  has  studied  them  well.  There  are  forms 
slinking  gracefully,  as  though  on  location 
and  with  rehearsed  movement.  What  an 
effect  for  a  camera. 

This  is  rugged.    Here  are  the  robust  of 
the  slums.    People  act  more  quickly  here 
than  in  Lambeth.    And  suddenly  we  are 
back  where  we  started.    In  a  car  we  go  to 
(Continued  od'Page  58.) 


HdlywooA  SCREENLAND  C»U/Sr»i» 


How  A  New  Kind  of  Clay 
Remade  My  Complexion 
in  30  Minutes 


For  reasons  which  every  woman  will  und 
my  name  and  my  identity.    But  I  have 
whose  pictures  you  see  here  to  pose  for 
exactly   how  the   marvelous   new  discov 
plexion  in  one  short  half  hour. 

I could  hardly  believe  my  eyes.  Just  thirty 
minutes  before  my  face  had  been  blem- 
ished and  unsightly;  my  skin  had  been 
coarse,  sallow  and  lifeless.  Now  it  was  actu- 
ally transformed.  I  was  amazed  when  I  saw 
how  beaut.ful  my  complexion  had  become — 
b'ow  soft  its  texture,  how  exquisite  its  color- 
ing. Why,  the  blemishes  and  impurities  had 
been  lifted  right  away,  and  a  charming, 
smooth  clear  skin  revealed  underneath! 
What  was  this  new  kind  of  mag.c? 

You  see,  I  never  really  did  have  a  pretty 
complexion.  My  skin  is  very  sensitive.  It 
always  xised  to  foe  so  coarse  and  rough  that 
I  hated  to  use  powder.  Sometimes  pimples 
and  eruptions  would  appear  overnight—and 
as  for  blackheads,  I  never  could  get  rid  of 
them! 

To  be  perfectly  frank  with  you,  I  tried 
everything  there  was  to  try.    I  greeted  each 
new  thing  with   hope— but  hope  was  soon 
abandond   as  my   skin   became   only  more 
-  harsh   and   colorless.     Finally  I 
gave  up  everything  in  favor  of 
massage.     But  suddenly  I  found 
that  tiny  wrinkles  were  beginning 
to  show  around  the  eyes  and  chin 
—and   I   assure   you  I   gave  up 
massage  mighty  quick. 

Wasn't  there  anything  that 
would  clear  my  complexion,  that 
would  make  it  soft  and  smooth 
and  firm?  Wasn't  there  anything 
I  could  do  without  wasting  more 
time  and  more  money?  It  was 
very  discouraging  and  I  was 
tempted  more  than  once  to  give  it 
up. 

In  fact,  on  one  very  disappoint- 
ing occasion  I  firmly  resolved 
never  to  use  anything  but  soap 
and  waiter  on  my  face  again.  But 
then  something  very  wonderful 
happened — and.  being  a  woman, 
I  promptly  changed  my  mind. 

Why  I  Changed  My  Mind 

Did  you  know  that  the  outer  layer  of  the 
skin,  called  the  epidermis,  is  constantly  dy- 
ing and  being  replaced  by  new  cells?  I  didn't 
— until  I  read  a  very  remarkable  announce- 
ment. That  announcement  made  me  change 
mv  mind.  It  explained,  simply  and  clearly, 
how  blackheads,  pimples  and  nearly  all  facial 
eruptions  are  caused  when  dead  skin  and  bits 
of  dust  clog  the  pores.  Impurities  form  in 
the  stifled  pores — and  the  results  are  soon 
noticeable. 

The  announcement  went  on  to  explain  how 
scientists  had  discovered  a  marvelous  clay, 
which,  in  only  one  application,  drew  dust, 
dirt  and  other  impurities  and  harmful  ac- 
cumulations to  the  surface.  This  Domino 
Complexion  Clay,  in  only  a  half-hour,  actu- 
ally lifted  away  the  blemishes  and  the  im- 
purities. And  when  it  was  removed  the  skin 
beneath  was  found  to  be  soft,  smooth,  clear 
and  charming!  Can  you  blame  me  for  want- 
ing to  try  this  wonderful  discovery  on  my 
own  blemished  complexion? 

My  Extraordinary  Experience 

I  won't  bore  you  with  details.  Suffice  to 
sav  that  I  applied  the  Domino  Complexion 
Clay  I  had  read  about  to  my  face  one  eve- 
ning at  nine  o'clock  and  settled  myself  com- 
fortably for  a  half-hour  of  reading.  Soon  I 
was  conscious  of  a  cool,  drawing  sensation. 
In  a  few  moments  the  clay  on  my  face  had 
dried  into  a  fragrant  mask.  And  as  it  dried 
and  hardened  there  was  a  wonderful  tingling 
feeling.  I  could  actually  feel  the  millions  of 
tiny  pores  breathing,  freeing  themselves  of 
the  impurities  that  had  stifled  them,  giving 
up  the  bits  of  dust  and  the  accumulations 
that  had  bored  deeply  beneath  the  surface. 

At  nine-thirty  I  removed  the  Domino  Com-  ' 
plexion  Clay  and,  to  my  utter  astonishment, 
found  that  I  had  a  brand  new  complexion! 
Hidden  beauty  had  actually  been  reyealed! 
Every  blackhead  had  vanished;  the  whole 
texture  of  the  skin  had  been  transformed 


erstand,  I  have  concsaled 
asked  the  'young  woman 
me,  so  that  you  can  see 
ery   remakes   one's  com- 

into  smooth,  clear,  deli- 
cately-colored beauty. 

I  shall  never  forget  my 
extraordinary  experience 
with  Domino  Complexion 
Clay.  It  accomplished  in  a 
half  hour  what  other  prep- 
parations  had  not  accom- 
plished in  years.  It  is  be- 
cause it  did  it  for  me,  be- 
cause I  actually  had  this 
wonderful  experience,  that 
I  consented  to  write  this 
story  for  publication. 

Domino  House 
Made  This  Offer 
To  Me 

The  formula  from  which 
the  amazing  Domino  Com- 


plexion Cla> 
is  made  was 
discovered  by 
the  chemists 
of  the  Domi- 
no House.  I 
have  been 
asked  to 
state  here, 
at  the  end  of 
my  story, 

that  Domino  House  will  send  without  any 
money  in  advance  a  $3.50  jar  of  Domino 
Complexion  Clay  to  any  one  who  reads  my 
story.  If  I  would  write  my  experience 
with  the  maryelous  new  Domino  Com- 
plexion Clay  for  publication  the  Domino 
House  agreed  to  accept  only  $1.95  for  a 
$3.50  jar  from  my  readers. 

You.  as  my  reader,  should  not  miss  this 
opportunity.  I  am  sure  that  the  marvelous 
Domino  Complexion  Clay  will  do  for  you 
what  it  has  done  for  me.  It  is  guaranteed 
to  do  so,  and  a  special  deposit  of  $10,000  in 
the  State  Bank  of  Philadelphia  backs  this 
guarantee.  Your  money  will  be  promptly  re- 
funded if  you  are  not  delighted  with  results 
and  return  what  is  left  of  Domino  Com- 
plexion Clay  within  10  days. 


pinion 
■lear  sin 
rinliantb 
Hfut ! 


Send  No  Money 


It  is  not  necessary  to  send  any  money  with 
the  coupon.  Just  pay  the  postman  $1.95  (plus 
few  cents  postage)  when  the  jar  of  Domino 
Complexion  Clay  is  in  your  hands.  You  will 
have  the  same  extraordinary  experience  that 
I  had — and  you  will  be  grateful  to  me  for 
agreeing  to  write  this  story.  But  I  advise 
you  to  act  at  once  before  the  special  offer  is 
withdrawn  and  Domino  Complexion  Clay  is 
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plexion  Clay  freshly -compounded,  t. 
day  your  order  arrives.  And  you  p. 
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Clay,  are  sold  regularly  from  $2.50  to 
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coupon  or  a  postcard  today.  Domin< 
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Tou  may  send  me  a  $3.50  jar  of  Domino  C 
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My  Trip  Abroad 

(Contniued  from  Page  56.) 


Huxton,  the  old  Brittania  Huxton,  I, 
rather  reluctantly. 

There  is  a  glaring  moving  picture 
palace.  What  a  pity.  I  resent  its  obtru- 
sion. We  go  along  toward  the  East  In- 
dian docks — to  Shadwell,  and  I  am  feeling 
creepy  with  the  horror  of  his  stories  of 
Shadwell.  I  could  hear  a  child  screaming 
behind  a  shuttered  window  and  I  won- 
dered and  imagined,  but  we  did  not  stop 
anywhere. 

We  meandered  along  with  just  an  occa- 
sional gesture  from  him,  all  that  was  neces- 
sary to  make  his  point.  To  Stanhope  Road 
and  Highgate,  Bethnal  Green,  Spitalfields, 
Ratcliffe,  Soho,  Nottingdale  and  Camden- 
town. 

And  through  it  all  I  have  the  feeling 
that  things  trivial,  portentous,  beautiful, 
sordid,  cringing,  glorious,  simple,  epochal, 
hateful,  lovable  things,  arc  happening  be- 
hind closed  doors.  I  people  all  those 
shacks  with  girls,  boys,  murders,  shrieks, 
life,  beauty. 

A  S  we  go  back  to  Highgate  we  talk  of 
life  in  the  world  outside  this  adven- 
turous Utopia.  He  tells  me  that  he  has 
never  been  outside  of  London,  not  even  to 
Paris.  This  is  very  curious  to  me,  but  it 
doesn't  seem  so  as  he  says  it.  He  tells  me 
of  another  book  that  he  has  ready  and  of 
a  play  that  he  is  working  on  for  early  pro- 
duction. Wre  talked  until  3  in  the  morn- 
ing and  I  went  back  to  my  hotel  with  the 
same  sort  of  feelings  that  I  had  at  12  when  ; 
I  sat  up  all  night  reading  Stevenson's 
Treasure  Island. 

The  next  dayr  I  did  some  shopping,  go- 
ing through  the  Burlington  Arcade,  where 
I  was  measured  for  boots.  How  different 
is  shopping  here.  A  graceful  ceremony 
that  is  pleasing,  even  to  a  man.  The  sole 
advertisement  I  see  in  the  shop  is  "Patrons 
to  his  majesty."  It  is  all  said  in  that  one 
phrase. 

And  the  same  methods  have  been  in 
vogue  at  this  bootmaker's  for  centuries. 
My  foot  is  placed  on  a  piece  of  paper  and 
the  outline  drawn.  Then  measurements 
are  taken  of  the  instep,  ankle  and  calf,  as 
I  want  riding  boots.  Old-fashioned  they 
will  probably  continue  until  the  end  of 
time,  yet  somehow  I  sort  of  felt  that  if  that 
old  shop  had  a  tongue  to  put  in  its  cheek, 
there  it  would  be  parked,  because  tradi- 
tion, as  an  aid  to  the  cash  register,  is  no 
novelty. 

In  the  evening  I  dined  at  the  Embassy- 
club  with  "Sonny"  and  was  made  an  hon- 
orary member  of  the  club. 

It  is  amazing  how  much  Europe  is  aping 
America,  particularly  with  its  dance  music. 
In  cafes  you  hear  all  the  popular  airs  that 
are  being  played  on  Broadway.  The 
American  influence  has  been  felt  to  such 
an  extent  that  King  Jazz  is  a  universal 
potentate.  Sonny  and  I  go  to  the  theatre 
and  see  a  part  of  the  League  of  Notions, 
but  w-e  leave  early  and  I  run  in  to  say 
"hello"  to  Constance  Collier,  who  is  play- 
ing in  London. 

The  next  day  is  exciting.  Through  the 
invitation  of  a  third  party  I  am  to  meet 
H.  G.  Wells  at  Stoll's  office  to  view  the 
first  showing  of  W'ells'  picture,  Mr.  Kipps. 

In  the  morning  the  telephone  rings  and 
I  hear  some  one  in  the  parlor  say  that  the 
Prince  of  Wales  is  calling.  I  get  in  a  blue 
funk,  as  does  every  one  else  in  the  apart- 
ment, and  I  hear  them  rush  toward  the 
phone.  But  Ed  Knobloch,  claiming  to  be 
versed  in  the  proper  method  of  handling 


such  a  situation,  convinces  every  one  that 
he  is  the  one  to  do  the  talking  and  I  re- 
lapse back  into  bed,  but  wider  awake  than 
I  ever  was  in  my  life. 

Knobloch  on  the  phone: 

"Are  you  there  ?"—•" Yes— Oh,  yes— to- 
night"— "Thank  you." 

TZ"NOBLOCH,  turning  from  the  phone, 
announces  very  formally:  "The  Prince 
of  W7ales  wishes  Charlie  to  dine  with  him 
tonight,"  and  he  starts  toward  my  bed- 
room door.  (Through  all  of  this  I  have 
been  in  the  bedroom  and  the  others  are  in 
the  parlor  confident,  with  the  confidence  of 
custom,  that  I  am  still  asleep.) 

As  Knobloch  starts  for  my  bedroom 
door  my  very  American  secretary,  in  the 
very  routine  voice  he  has  trained  for  such 
occurrences,  says: 

"Don't  wake  him.  Tell  him  to  call 
later.    Not  before  2  o'clock." 

Knobloch — "Good  God,  man,  this  is  the 
Prince  of  Wales,"  and  he  launches  into  a 
monologue  regarding  the  traditions  of 
England  and  the  customs  of  court  and 
what  a  momentous  occasion  this  is,  con- 
temptuously observing  that  I  am  in-  bed 
and  my  secretary  wants  him  to  tell  the 
prince  to  call  later!  He  cannot  get  the 
American  viewpoint. 

Knobloch's  sincere  indignation  wins  and 
the  secretary  backs  away  from  the  bed- 
room as  I  plunge  under  the  covers  and 
feign  sleep.  Knobloch  comes  in  very  dig- 
nified and,  trying  to  keep  his  voice  in  the 
most  casual  tone,  announces:  "Keep  to- 
night open  to  dine  with  the  Prince  of 
Wales." 

I  try  to  enter  into  it  properly,  but  I  feel 
rather  stiff,  so  early  in  the  morning.  I 
try  to  remonstrate  with  him  for  having 
made  the  engagement.  I  have  another  en- 
gagement with  H.  G.  Wells,  but  I  am 
thrilled  at  the  thought  of  dining  with  the 
prince  in  Buckingham  Palace.  I  can't  do 
it.    Wrhat  must  I  do? 

Knobloch  takes  me  in  hand.  He  repeats 
the  message.  I  think  some  one  is  spoofing 
and  tell  him  so.  I  am  very  suspicious  and 
the  thrill  leaves  me  as  I  remember  that  the 
prince  is  in  Scotland  shooting.  How  could 
he  get  back? 

But  Knobloch  is  practical.  This  must 
go  through.  And  I  think  he  is  a  bit  sore 
at  me  for  my  lack  of  appreciation.  He 
would  go  to  the  palace  himself  and  find 
out  everything.  He  goes  to  the  palace  to 
verify. 

I  can't  tell  his  part  of  it.  He  was  very 
vague,  but  I  gathered  that  when  he 
reached  there  he  found  all  the  furniture 
under  covers  and  I  can  hear  that  butler 
now  saying: 

"His  highness,  the  prince,  will  not  be 
back  for  several  days,  sir." 

Poor  Ed.  It  was  quite  a  blow  for  him, 
and,  on  the  level,  I  was  a  bit  disappointed 
myself. 

But  I  lost  no  time  mooning  over  my  lost 
chance  to  dine  with  royalty,  for  that  after- 
noon I  was  going  to  meet  W^ells.  Going 
to  Stoll's,  I  was  eagerly  looking  forward 
to  a  quiet  little  party  where  I  could  get  off 
somewhere  with  Wells  and  have  ,a  long 
talk. 

AS  I  drew  near  the  offices,  however,  I 
noticed    crowds,    the   same    sort  of 
crowds  that  I  had  been  dodging  since  my 
exit  from  Los  Angeles.    It  was  a  dense 
mass  of  humanity  packed  around  the  en- 
( Continued  on  Page  60.) 


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glistening  brass  brightens  and  beautifies 
your  bedroom;  enjoy  the  refreshing  com- 
fort. After  30  days  if  you  are  not  delighted, 
return  the  set  and  we'll  refund  your  $1.00 
plus  any  freight  or  express  you  paid. 


Easy  Payments 

But  if  you  decide  to  keep  the  bed, 
start  paying  the  small  payments  of 
only  13.00  a  month  until  the  full  bar- 
gain price  of  only  $34.95  has  been 
paid.  A  full  year  to  pay.  We  trust 
honest  people  anywhere  in  the  U.  S. 
No  extra  charge  for  credit;  no  dis- 
count for  cash.    No  C.  O.  D. 


Price  Smashed! 


Free  Bargain  Catalog 

Shows  thousands  of  bargains  In  furniture. 
Jewelry,  carpets,  rugs,  curtains,  silverware, 
stoves,  talking  machines,  porch  and  lawn  fur- 
niture, women's,  men's  and  children's  wearing 
apparel;  all  sold  on  easy  terms. 

Straus  &  Schram, 


Send  Coupon 

The  price  is  down  to  rock  bottom  on  this  sensational, 
factory  sacrifice  offer.  Send  the  coupon  with  only  $1.00 
and  we'll  ship  the  complete  outfit  on  30  days  trial.  No 
risk   no  obligaUon — your  $1.00  refunded  if  not  satisfied. 


Dept.  2146,  Chicago,  111. 


2-Inch  Post  Brass  Bed 

Dignified,  sturdy  and  graceful;  made  in  the  popular  4- 
post  Colonial  design,  lacquered  in  soft  dull  satiny,  rich 
velvet  finish,  and  relieved  by  ribbon-like  bands,  bur- 
nished bright,  as  permanent  as  the  brass  itself.  Will 
not  tarnish  or  wear  off.  2-inch  Colonial  posts  with  hand- 
some extra  size  4-inch  mounts.  The  top  rails  and  filling 
rails  are  1  in.  thick.  Height  of  head  end  555  inches  high, 
the  foot  end  30  inches.  Furnished  in  full  size  only,  54 
by  76  Inches.  Complete  with  the  best  quality  ball- 
bearing steel  casters.  Fitted  with  rigid,  patented  inter- 
locking steel  side  rails. 

All-Cotton  Mattress  gS2»  ESS. 

the  all-cotton  mattress  in  this  outfit,  filled  with  clean, 
sanitary  cotton  linters  to  an  unusual  thickness.  Will 
keep  Its  shape  always.  Covered  with  beautiful  floral"  art 
ticking,  deeply  tufted,  with  roll  edges  and  round  corners. 

Link  Fabric  Spring  *2ft 

angle  iron  side  rails,  with  fine  mesh,  strong  link  fabric 
body.  Joined  at  each  end  with  25  helical  springs;  will 
not  sag.    Weight  entire  outfit  about  195  pounds. 
Order  by  No.  B69I9A.    Price  for  Bed,  Sprint  and  Cotton 
Mattress,  $34.95.    $1.00  down,  $3.00  monthly. 


Straus  i  Schram,  Dept.  2146,  Chicago,  III. 

Enclosed  find  $1.  Ship  special  advertised  3-piece  Brass  Bed 
Outfit — brass  bed,  spring  and  cotton  mattress.  I  am  to  have  30 
days  free  trial.  If  I  keep  the  outfit.  I  will  pay  you  $3.00 
monthly.  If  not  satisfied.  I  am  to  return  the  outfit  within  30 
days  and  you  are  to  refund  my  money  and  any  freight  charges 

1  Pald'     3-Piece  Brass  Bed  Outfit  No.  B69I9A.  $34.95. 

Name   -  -  *  

Street.  R.F.D. 

or  Box  No  


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My  Trip  Abroad 


(Continued  from  Page  58.) 
tire  front  of  the  building,  waiting  for  hire.  I  shall  be  truthful 
something  that  had  been  promised  them. 
And  then  I  knew  that  it  was  an  arranged 
affair,  and  that,  so  far  as  a  chat  was  con- 
cerned, Wells  and  I  were  just  among  those 
present,  even  though  we  were  the  guests' 
of  honor. 


I  remember  keenly  the  crush  in  the  ele- 
vator, a  tiny  little  affair  built  for  about 
six  people  and  carrying  nearer  sixty.  I 
get  the  viewpoiht  of  a  Sardine,  quite  easily. 
Upstairs  it  is  not  so  bad,  and  I  am  swept 
into  a  room  where  there  ate  only  a  few 
people  and  the  door  is  then  dosed.  I  look 
all  around,  trying  to  spot  Wells.  There 
he  is. 

I  notice  his  beautiful,  dark  blue  eyes 
first.  Keen  and  kindly  they  are  twinkling 
just  now  as  though  he  were  inwardly 
smiling,  perhaps  at  my  very  apparent  em- 
barrassment, 

Before  we  can  get  together,  however, 
there  comes  forward  the  camera  brigade 
with  their  flashlight  ammunition.  Would  , 
we  pose  together?  Wells  looks  hopeless. 
I  must  show  that  before  cameras  I  am 
very  much  of  a  person,  and  I  take  the 
initiative  with  the  lens  peepers. 

We  are  photoed,  sitting,  standing,  hats 
on  and  off  and  in  every  other  stereotyped 
position  known  to  camera  men. 

We  sign  a  number  of  photos.  I  in  my 
large,  sweeping,  sprawling  hand — I  re- 
member handling  the  pen  in  a  dashing, 
swashbuckling  manner — then  Wells,  in  his 
small,  hardly  discernible  style.  I  am  very 
conscious  of  this  difference,  and  I  feel  as 
though  I  had  started  to  sing  aloud  before 
a  group  of  grand  opera  stars. 

Then  there  is  a  quick  sketch  artist,  for 
whom  we  pose.  He  does  his  work  rapidly, 
however,  and  while  he  is  drawing  Wells 
leans  over  and  whispers  in  my  ear. 

"We  are  the  goats,"  he  tells  me.  "I  was 
invited  here  to  meet  you  and  you  were 
probably  invited  here  to  meet  me." 

He  had  called  the  turn  perfectly,  and 
when  we  both  accepted  the  invitation  our 
double  acceptance  had  been  used  to  make 
the  showing  an-  important  event.  I  don't 
think  that  Wells  liked  it 

Wells  and  I  go  into  the  dark  projection 
room  and  I  sit  with  Wells.  I  feel  on  my 
mettle  almost  immediately,  sitting  at  his 
side,  and  I  feel  rather  glad  that  we  are 
spending  our  first  moments  in  an  atmos- 
phere where  I  am  at  home.  In  his  pres- 
ence I  feel  critical  and  analytical  and  I 
decide  to  tell  the  truth  about  the  picture 
at  all  costs.  I  feel  that  Wells  would  do 
the  same  thing  about  one  of  mine. 

AS  the  picture  is  reeling  off,  I  whisper 
him  my  likes  and  dislikes,  princi- 
pally the  faulty  photography,  though  oc- 
casionally I  detect  bad  direction.  Wells 
remains  perfectly  silent  and  I  begin  to 
feel  that  I  am  not  breaking  the  ice.  It  is 
impossible  to  get  acquainted  under  these 
conditions.  Thank  God,  I  can  keep  silent, 
because  there  is  the  picture  to  watch  and 
that  saves  the  day. 

Then  Wells  whispers:  "Don't  you  think 
the  boy  is  good?" 

The  boy  in  question  is  right  here  on  the 
other  side  of  me,  watching  his  first  pic- 
ture. I  look  at  him.  Just  starting  out  on 
a  new  career,  vibrant  with  ambition,  eager 
to  make  good,  and  his  first  attempt  being 
shown  before  such  an  audience.  As  I 
watch  he  is  almost  in  tears,  nervous  and 
anxious. 

The  picture  ends.  There  is  a  mob  clus- 
tering about.  Directors  and  officials  look 
at  me.   They  want  my  opinion  of  the  pic- 


Shall  I  criticize? 
Wells  nudges  me  and  whispers:  "Say 
something  nice  about  the  boy."  And  I 
look  at  the  boy  and  see  what  Wells  has 
already  seen  and  then  I  say  the  nice  things 
about  him.  Wells'  kindness  and  consider- 
ation mean  so  much  more  than  a  mere 
picture. 

Wells  is  leaving  and  we  are  to  meet  for 
dinner,  and  I  am  left  alone  to  work  my 
way  through  the  crush  to  the  taxi  and  back 
to  the  hotel,  where  I  snatch  a  bit  of  a  nap. 
I  want  to  be  in  form  for  Wells. 

There  comes  a  little  message  from 
Wells: 

"Don't  forget  the  dinner.  You  can  wrap 
up  in  a  cloak  if  you  deem  it  advisable  and 
slip  in  about  7:30  and  we  can  dine  in 
peace. 

"H.  G.  WELLS, 
"Whitehall  Court,  Entrance  4." 

TTT^7E  talk  of  Russia  and  I  find  no  em- 
»  »  barrassment  in  airing  my  views,  but 
;  I  soon  find  myself  merely  the  questioner. 
Welts  talks,  and,  though  he  sees  with  the 
vision  of  a  dreamer,  he  brings  to  his  views 
the  practical.  As  he  talks  he  appears  very 
much  like  an  American.  He  seems  very 
young  and  full  of  "pep." 

Tbere  is  the  general  feeling  that  condi- 
tions will  right  themselves  in  some  way. 
Organization  is  needed,  he  says,  and  is 
just  as  important  as  disarmament  Educa- 
tion is  the  only  salvation,  not  only  of  Rus- 
sia, but  of  the  rest  of  the  world.  Socialism 
of  the  right  sort  will  come  through  proper 
education. 

We  discuss  my  prospects  of  getting  into 
Russia.  I  want  to  see  it  Wells  tells  me 
that  I  am  at  the  wrong  time  of  the  year, 
that  the  cold  weather  coming  on  would 
make  the  trip  most  inadvisable. 

I  talk  about  going  to  Spain  and  he  seems 
surprised  to  hear  that  I  want  to  see  a  bull 
fight.   He  asks  "why?" 

I  don't  know,  except  that  there  is  some- 
thing so  nakedly  elemental  about  it 
There  is  a  picturesque  technique  about  it 
that  must  appeal  to  any  artist  Perhaps 
Frank  Harris'  "Matador"  gave  me  the  im- 
pulse, together  with  my  perpetual  quest  for 
a  new  experience.  He  says  it  is  too  cruel 
to  the  horses. 

I  relax  as  the  evening  goes  on  and  I  find 
that  I  am  liking  him  even  more  than  I 
expected.  About  midnight  we  go  out  on 
a  balcony  just  off  his  library  and  in  the 
lights  of  a  full  moon  we  get  a  gorgeous 
view  of  London.  Lying  before  us  in  the 
soft,  mellow  rays  of  the  moon  London 
looks  as  though  human,  and  I  feel  that 
we  are  rather  in  the  Peeping  Tom  role. 

I  exclaim:  "The  indecent  moon." 

He  picks  me  up.   "That's  good.  Where 
did  you  get  that  ?" 

I.  have  to  admit  that  it  is  not  original— 
that  it  belongs  to  Knoblocb. 

Wells  comments  on  my  dapperness  as 
he  helps  me  on  with  my  coat  "I  see  you 
have  a  cane  with  you."  I  was  also  wear- 
ing a  silk  hat.  I  wonder  what  Los  Angeles 
and  Hollywood  would  say  if  I  paraded 
there  in  this  costume? 

WELLS  tries  on  my  hat,  then  takes 
my  cane  and  twirls  it  The  effect  is 
ridiculous,  especially  as  just  at  the  mo- 
ment I  notice  two  volumes  of  the  Outline 
of  History  on  his  table. 

Strutting  stagily,  he  chants,  "You're 
quite  the  fellow,  doncher  know."  We  both 
laugh.  Another  virtue  for  Wells.  He's 
human. 

I  try  to  explain  my  dress.    Tell  him 
(Continued  on  Page  61.) 


Hollywood.  Screen  land  ws^u 


63 


My  Trip  Abroad  1 

(Continued  from  Page  60.) 
that  it  is  my  other  self,  a  reaction  from  1 
the  everyday  Chaplin.   I  have  always  de- 1 
sired  to  look  natty  and  I  have  spurts  ot  1 
primness.    Everything  about  me  and  my  1 
work  is  so  sensational  that  I  must  get  re-  1 
action.    My  dress  is  a  part  of  it.    I  feel  1 
that  it  is  a  poor  explanation  of  the  para-  I 
dox,  but  Wells  thinks  otherwise. 

He  says  I  notice  things.   That  1  am  an  1 
observer  and  an  analyst.    I  am  pleased.  1 
I  tell  him  that  the  only  way  I  notice  1 
things  is  on  the  run.    Whatever  keenness 
of  perception  I  have  is  momentary,  fleet-  1 
ingf  I  observe  all  in  ten  minutes  or  not  1 

at  all.                          .      .   .  •     T)   ■  „  1 
What  a  pleasant  evening  it  is.    But  as  1 
I  walk  along  toward  the  hotel,  I  feel  that  1 
I  have  not  met  Wells,  yet. 

And  I  am  going  to  have  another  oppor-  1 
tunity.    I  am  going  to  have  a  week-end  1 
with  him  at  his  home  in  Easton,  a  week- 
end without  publicity    a  week-end  with 
Wells   at  home,   with  just   his   family.  1 
That  alone  is  worth  the  entire  trip  from  1 
Los  Angeles  to  Europe.  1 
Copyright,  1922,  by  the  McClure  | 
Newspaper  Syndicate.   All  fights 
reserved. 

The  Love  Pirate 

(Continued  from  Page  40.) 
I  shall  leave  you  for  a  time."  1 

"My  friends  "                     .  ,1 

"Will  not  get  here,  I  think.    If  they  do  1 
—we  will  be  gone.    Indeed,  I  a,m  setting  1 
out  for— elsewhere— within  a  few  hours.  1 
I  shall  take  my  little  yacht,  the  Stingaree, 
and  leave  the  Wasp  with  Captairi Hansen 
and  his  men— and  yourself  aboard.  Miss 
Shelby  shall  accompany  me.        m  1 

"Why,  you  damned— pirate — 3-  gasped  1 
Truesdale.   "I'd  like  to  choke  you—-  | 

"Think  it  over,  senor,,"  answered  the  1 
other  imperturbably,  and  with  a  bow  left  1 

the  cabin.                     '                .      .  1 
Vera  did  not  return.    The  actor  lay  in  1 
a  mental  turmoil,  wondering  what  would 
•     really  happen,  when,  just  as  the  sun  began 
to  throw  its  horizontal  rays  int^  the  cabin  1 
through  the  partly  shuttered  window,  m-  1 
dicating  that  the  afternoon  was  waning,  1 
there  was  a  sudden  commotion  outside.  1 
Several  shots  were  fired.    And  presently 
the  face  of  Goff  appeared  at  the  window.  1 
In  his  teeth  he  held  a  long  dirk  knife  and  1 
as  he  clambered  through  Truesdale  won-  1 
dered  if  his  last  hour  had  come.  «  But  in-  1 
stead,  the  half-wit  cut  his  bonds  and  beck- 1 
oning  to  him  to  follow,   slipped  back  1 
through  the  window.             _  1 
Truesdale,  as  rapidly  as  his  stiffened  1 
i:mKc  urmild  allow  followed.    And  there,  1 

limDS  WOUIU   aliuw,   4v-"lv,TTW  B' 

in  the  little  harbor,  a  strange  sight  met  1 
his  gaze!  k 

First  National  First! 

Have  you  noticed  that  when  you 
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I          the  pictures  that  interest  you  most 
I          —that  are  the  most  fascinating  en- 
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62 


Have  A  Clear,  Rosy, 
Velvety  Complexion 

ALL  THE  WORLD  ADMIRES 
A  PERFECT  COMPLEXION 


Don't  doubt — because  I  srive  you  a  guarantee  which 
dispels  doubt.  I  refer  you  to  women  who  testify  to 
the  moat  astonishing  and  gratifying  results.  Tour  com- 
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H°»i)~~i  SCREENLAKD 

Opie  Read  Visits 
the  Set 

( Continued  from  Page  37.) 
on,  past  a  twenty-foot  room  devoted  to 
"Wigs  Only,"  to  the  wardrobe  where  hun- 
dreds of  coats  of  mail,  shields,  helmets, 
and  robes  of  ladies-in-waiting  and  of 
peasants'  costumes  hung  in  long,  long 
rows — or  were  piled  in  sections  labeled 
"Sheriff's  Men,"  "Lance  Bearers,"  etc 

Opie  Read  stopped  to  admire  the  heavy 
swords,  stacked  near  the  door.  "You 
know,"  he  exclaimed,  "these  are  fine— fine. 
The  stage  had  nothing  real— wooden  dag- 
gers, tin  armor.    This  is  art. 

"You  are  creating  a  beautiful  thing — 
the  screen  is  a  wonderful,  wonderful  me- 
dium. Think  what  it  would  mean  to  us 
today  to  have  pictures  of  historical  events. 

"After  all,  only  those  nations  that  have 
loved  and  studied  art  have  given  us  the 
things  most  worth  while  in  life.  The 
Athenians  were  the  greatest.  You  know 
the  story  about  Solomon  and  the  black- 
smith. Solomon  had  a  great  banquet.  Far 
down  the  table  sat  the  blacksmith.  Solo- 
mon sent  for  him  and  said,  "What  are 
you?  What  do  you  do?"  And  the  smith 
said,  as  he  showed  him  his  roughened 
hands,  "I  am  a  blacksmith.  I  work  with 
metals."  And  Solomon  said,  "Place  him 
by  me — he  does  things  worth  while." 

"Now  a  blacksmith  would  not  have  had 
a  place  of  honor  in  Athens." 

We  were  back  on  the  lot  and  crossing 
Doug's  out-door  gym,  where  his  chief  pas- 
time lately  has  been  archery. 

Allan  Dwan  called  for  the  Earl  of 
Huntingdon,  and  he  reluctantly  said  good- 
bye to  the  Reads.  As  we  went  to  their  car 
Opie  Read  said,  simply: 

"This  will  be  a  wonderful  picture.  I 
have  been  in  many  studios ;  I've  met  many 
stars,  but  I  have  never  met  a  more  whole- 
some personality.  I  have  never  been  any- 
where that  I  have  felt  as  much  at  home  as 
in  this  place.  Why,  he  hasn't  a  bit  of 
vanity;  the  simplicity  of  his  nature  shows 
the  real  lover  of  Art.  You  know,  I  have 
always  found,  in  meeting  famous  people, 
that  the  truly  great  ones  are  marked  by  an 
utter  simplicity  of  manner. 

"There  is  such  a  wholesome  atmosphere 
here  of  strong  moral  health!  I  like  the 
people  he  has  around  him.  He  is  sin- 
cerely searching  for  Truth — searching  for 
Truth — the  creed  of  Art  is  beauty  and 
truth.  Art  is  simply  discovering  a  mood 
of  nature  and  reproducing  it.  They  have 
done  it  here !  I  do  not  know  when  I  have 
enjoyed  myself  so  much!  Wish  I  did  not 
have  to  go!" 

But  he  had  to  go.  When  a  man  is  in 
such  demand  that  he  lectures  every  night, 
and  spends  half  his  days  being  entertained 
by  other  famous  people,  as  does  Opie  Read, 
why  he  just  has  to  sacrifice  some  of  his 
pleasures ! 

Back  in  the  studio — save  for  the  voice, 
I  thought  for  a  moment  I  was  listening 
again  to  Opie  Read!  For  the  voice  was 
saying : 

"Gee,  that's  a  man.  I  wish  I  could  have 
had  more  time  with  him !  Did  you  ever 
see  such  simplicity  of  manner  and  such  a 
delightful  personality?  No  wonder  I  al- 
ways enjoy  his  books !  Wish  I  could  hear 
him  talk  tonight.  Did  you  hear  what  he 
said  ?" 


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63 


The  Same  Little  Tess 

(Continued  from  Page  47.) 
on  the  beach  in  a  few  rags,  barefooted. 
I'd  run  in  the  spray  until  Mother  was 
frantic  about  me — but  I  actually  gained 
and  grew  strong! 

"Then  came  that  terrible  rain  storm, 
when  people  were  drowned  on  the  streets 
of  Los  Angeles.  Why  we  had  a  house  on 
St.  Andrews,  and  somebody  left  a  coupe 
parked  on  the  street  at  our  corner.  Three 
days  it  poured — we  were  marooned — and 
that  car  was  covered  the  water  was  so 
deep! 

"Mr.  Porter  had  brought  this  book  over 
to  me  and  said  he  thought  it  would  make 
a  wonderful  picture.  But  I  was  tired  of 
grimy-ragged  heroines,  and  I  said  No — I 
would  NOT  do  it!" 

Laughter  danced  in  her  hazel  eyes — 

"Temperamental!  O,  I  knew  every- 
thing those  days!  I  had  no  money  in  the 
bank"  (roguish  pursed  lips)  "but  had  lots 
of  temperament! 

"So  I  said  NO! 

"  'Now,  Murry,'  Mr.  Porter  always 
called  me  Murry,  'you  just  keep  this  book 
and  read  it — you  will  like  it  I  know,'  he 
said. 

"So,  I  did — and  I've  learned  to  respect 
his  judgment  now— I  did  like  it,  and  I 
called  him  up  the  next  day  and  apoligized 
— and  agreed  to  make  Tess!" 
C"HE  studied  the  sets  built  on  this  lovely 
^lakc — sets  that  might  have  been 
brought  from  a  fishing  village  on  Cayuga 
Lake  itself  and  dropped  on  this  sunny 
shore. 

"Aren't  they  wonderful?"  she  cried, 
"just  a  marvel  of  tumble-down,  rickety  old 
clapboard  shacks!  We  scoured  the  coun- 
try for  really  old,  weather-seasoned  boards. 

"When  we  made  Tess  before  we  used 
the  old  Japanese  fishing  village  above 
Santa  Monica!  And  we  had — well,  not 
over  six  interiors!  We  built  Teola's  room, 
and  the  kitchen,  and  the  court  room  and 
the  church  interior.  But  for  the  exteriors 
we  used  a  little  house  at  the  top  of 
Angel's  Flight — no,  Court's  Flight,  it  was 
— above  Hilt' street  at  First." 

Laughter  crept  into  the  tones  of  her 
clefcr  voice.  "We  used  one  side  of  that 
house  for  the  court  house — then  we  sprin- 
kled a  little  salt  before  the  door  on  the 
other  side,  for  the  church!" 

She  laughed  gaily  and  pointed  up  a 
hillside  where  an  imposing  colonnade 
marked  a  terraced  pergola. 

"Nothing  like  that  then." 

"Why,  we  never  had  a  re-take!  We 
didn't  know  the  meaning  of  dailies!  We 
never  even  saw  a  single  shot  of  the  pic- 
ture we  were  making!  Each  day  the  film 
was  shipped  to  NeWYork  to  be  developed, 
as  fast  as  we  made  it!  I  did  not  see  Tess 
until  long  after  it  had  been  released  in  the 
East.  We  had  to  go  to  Tally's  Broadway 
theater  to  see  it ! 

"The  first  Tess  could  ndt\ave  cost  over 
eight  thousand  dollars.  We  paid  fifty 
thousand  just  to  buy  back  all  the  rights 
before  we  began  to  shoot  thlil  We're 
going  to  make  a  beautiful  picture  of  this. 
— I  hope  people  will  love  it  as  much  as 

1  do- 

*' You  like  this  setting  and  these  shacks? 
So  do'  I.  I  don't  know  what  we'll  do  with s 
all  this — we'll  clear  it  all  off  and  leave 
the  place  in  order.  I  suppose  the  shacks 
will  make  a  grand  bonfire — all  except  this 
one,  my  dressing  room.  It  is  quite  com-* 
plete,  with  even  a  bath  tub.  We'll  haul  it 
down  the  valley  and  give  it  to  a  very,  very 
poor  family  we  found  living  in  a  dry- 
goods  box!" 

"Ready  for  you,  Miss  Pickford  " 

"Yes,  Mr.  Robertson — coming!" 


\ 


The  Price  You  Pay 

For  dingy  film  on  teeth 


Let  us  show  you  by  a  ten-day  test 
how  combating  film  in  this  new  way 
.beautifies  the  teeth 

Now  your  teeth  are  coated  with  a  vis- 
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tongue.  It  clings  to  teeth,  enters  crev- 
ices and  stays.  It  forms  the  basis  of 
fixed  cloudy  coats. 

That  film  resists  the  tooth  brush.  No 
ordinary  tooth  paste  can  effectively  com- 
bat it.  That  is  why  so  many  well-brushed 
teeth  discolor  and  decay. 

Keeps  teeth  dingy 

Film  absorbs  stains,  making  the  teeth 
look  dingy.  Film  is  the  basis  of  tartar. 
It  holds  food  substance  which  ferments 
and  forms  acids.  It  holds  the  acids  in 
contact  with  the  teeth  to  cause  decay. 

Millions  of  germs  breed  in  it.  They, 
with  tartar,  are  the  chief  cause  of  pyor- 
rhea. Thus  most  tooth  troubles  are  now 
traced  to  film.  And,  despite  the  tooth 
brush,  they  have  constantly  increased. 

Attack  it  daily 

Careful  people  have  this  film  removed 
twice  yearly  by  their  dentists.  But  the 
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Now  dental  science,  after  long  research, 


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Two  other  effects 

Pepsodent  also  multiplies  the  starch 
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It  multiplies  the  alklaninity  of  the 
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Thus  every  use  gives  multiplied  effect 
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Millions  employ  it 

Millions  of  people  now  use  Pepsodent, 
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Once  see  its  effects  and  you  will  adopt 
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64 


e/1-  Clear  Soft 


Velvety  Skin 
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Secret  D^ethods 

V*OU  CAM  be  beautiful,  attractive,  charming;! 
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D„      •    I    secrets  based  on  the  arts  of  beau- 

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Little  Hints  for 
Playgoers 

(Continued  from  page  43) 

NANOOK  OF  THE  NORTH  (Pathe) 
— That  a  picture  could  be  both  vivid 
and  compelling,  though  devoid  of  plot, 
we  didn't  think  probable  on  the  screen 
— but  yet  the  probable  has  become  pos- 
sible in  this  unusual  feature  picturiza- 
tion  of  the  life  and  habits  of  the  Eski- 
mos. It  holds  because  it  is  a  slice  of  life 
itself.  We  particularly  recommend  this 
to  pessimistic  and  disgruntled  people. 

THE  DEVIL'S  PAWN  (Paramount) 
— Pola  Negri's  volcanic  personality  and 
dramatic  artistry  saves  this  picture  from 
being  preserved  in  the  refrigerator  for 
another  decade.  She  at  least  is  always 
interesting  and  refreshing.  Possibly  be- 
cause her  superb  pantomime  stands  out 
among  a  galaxy  of  solo  expressions. 

THE  STORM  (Universal)— This  is 
the  stuff  that  goes  strong.'  A  corking 
good  story  centering  around  two  men 
and  a  maid  (alone  in  the  Canadian 
wilds)  plenty  of  plausible  action — both 
physical  and  otherwise  —  and  excellent 
acting,  with  Matt  Moore,  House  Peters 
and  Virginia  Valli  bowing  their  best. 
Should  take  the  movie  public  by  storm! 

THE  MAN  UNDER  COVER  (Uni- 
versal)— Written  by  a  "lifer"  in  a  peni- 
tentiary, the  story  has  to  do  with  crooks 
and  bunko  oil  wells — but  Herb  Rawlin- 
son  wears  his  dimples,  so  we  can  stand 
the.  melodrammer. 

IRON  TO  GOLD  (Fox)  —  Dustin 
Farnum  proves  that  the  old  hokum  can 
get  by — when  a  real  actor  and  not  a 
collar-ad  hero  plays  it 

THE  COUNT  OF  MONTE  CRISTO 
(Fox) — Dumas'  Old,  old  romantic  classic 
visualized  in  pictorial  drama.  Charac- 
ter delineations  are  brilliantly  subtle, 
though  John  Gilbert  is  a  bit  lacking  in 
the  finesse  that  the  role  demands. 

SILVER  WINGS  (Fox  Special)— 
Mary  Carr  is  a  splendid  actress  and 
she  Can  interpret  mother  roles  as  per- 
haps few  can.  But  that  is  no  reason 
why  she  should  be  supplied  with  trite 
mother-love  stories,  which  depend  sole- 
ly on  her  characterization  for  putting 
the  thing  over. 


Reduce  Your  Double 
Chin  While  You 
Sleep 


YOU  don't  need  to  have  a 
double  chin — now  or  later 
on.  The  sagging  flesh  and 
the  drooping  mouth-lines  that  go 
with  it  are  easily  corrected.  And 
away  go  seeming  years  of  age! 

The  Davis  Chin  Strap  is  worn 
by  thousands  of  women  every 
night.  While  they  sleep,  it  stops 
mouth-breathing,  which  may  se- 
riously injure  the  .  teeth  and 
larynx,  and  it  quickly  moulds 
back  an  over-heavy  chin  to  the 
ideal  proportions  of  earlier  days. 

Many  accepted  methods  of 
flesh-reducing,  such  as  exercise 
and  massage,  are  ineffective  or 
prove  very  slow  in  reducing  dou- 
ble chin.  Pressure  equally  and  lo- 
cally applied  to  the  muscles  and 
flesh  of  the  lower  face  prove  most 
efficacious.  This  necessary  pres- 
sure is  properly  applied  only  by 
the  Davis  Chin  Strap. 

While  the  Davis  Strap  has  been 
used  largely  by  women  and  girls, 
it  may  also  be  worn  with  great 
benefit  by  children.  It  corrects 
unhygienic  mouth-breathing  and 
frequendy  saves  children  from 
having  to  undergo  expensive  op- 
eration on  their  teeth,  nose,  ears 
and  throat. 

Many  physicians  regularly  rec- 
ommend its  use. 

Write  for  a  Davis  Chin  Sup- 
porter today. 

$2.00  by  Mail 

When  ordering,  measure  size  snugly 
over  crown  of  head  and  point  of  chin. 


CORA  M.  DAVIS 

Dept.  5,  507  Fifth  Ave. 
New  York  City 


Beauty  parlors  and  dealers 

Write  for  our  special  proposition. 


HJJywooi  SCREENLAND  C*nG*™ 


65 


Do  You  Know  Any 
Movie  Game  ? 

Here  are  more  clever  and  amusing 
movie  games  to  lend  jollity  to  your 
mid-summer  parties. 

If  you  have  a  pet  movie  game  that  is 
different  from  the  ones  already  printed, 
send  it  in  to  the  Movie  Game  editor. 
For  every  one  amusing  enough  to  be 
printed,  the  lucky  sender  will  receive 
Screen  land  free  for  one  year. 

FROM  WINIFRED  CHURCHILL, 
Hollywood,  Cal. 

This,  is  the  old  favorite  Consequences, 
with  a  new  movie  twist.  Each  guest 
should  be  given  a  paper  looking  like 
this: 

2— — - 
3  


5— 


Met 
Where 
He  said  to  her 
She  said  to  him 
The  consequence  was 


6—- ~ 

Each  player  writes  the  name  of  a  male 
film  star  on  the  first  blank  line,  folds 
down  the  paper  so  that  the  name  is  hid- 
den, and  passes  it  on  to  the  next  person 
to  the  left.  The  procedure  is  repeated, 
using  the  name  of  a  photoplay  in  each 
of  lines  3,  4,  5  and  6.  Then  the  papers 
are  collected  and  read.  One  such  paper 
written  at  a  party  recently  read  this 
way : 

Wallace  Reid  met  Bebe  Daniels  on  A 
Trip  to  Paradise.  He  said  to  her,  Come 
On  Over.  She  said  to  him,  Watch  Your 
Step.  And  the  consequence  was  A 
Fool's  Paradise. 

FROM  HELEN  KING, 
Ronan,  Mont. 
An  amusing  game  is  played  by  pass- 
ing to  the  guests  a  paper  containing  a 
verse  with  blank  spaces  to  be  filled  in 
with  a  name  of  a  movie  star  in  each 
instance.    For  instance : 
He  sat  and  dreamed  in  the  moon 

beams  so  ~   (White)  ; 

He  sat  and  dreamed  the  whole  of  the 
night, 

'Till  the  first  bright    (Ray) 

changed  the  grays  artd  blue 
Of  the  skies  to  the  most  gorgeous 

 -(Hughes). 

Why  dreams  he  through  the  whole 

night  there? 
He  dreams  of  his    (Castle) 

in  the  air. 
He  dreams  of  — —         (Love)  in  a 

cottage  for  two, 
And  so  is  happy  the  long  night 

through. 

He'd  lost  his  -  —  (Hart)  the  day 

before  this 

Down  by  the    (Lake)  to  a 

 (Sweet)  little  miss; 

They  meet  the    (Chaplin)  to- 

day; so  "Oh,  Boy!" 
That's  why  he  hailed  the  new  dawn 

with  such   (Joy). 

FROM  PAULINE  G.  UNGAR, 
Cincinnati,  (X 
Movie  charades  are  interesting  and 
amusing.  The  hostess  chooses  two  or 
more  guests  to  act  out  the  name  of 
some  star  or  photoplay.  Fairbanks, 
Pickford,  Washburn  can  be  acted  out 
easily.  Each  couple  or  group  act  out  a 
name,  in  turn  and  the  group  that  guess 
the  most  names  wins  the  prize. 


■ 


Are  You  a 
Motion 
Picture 
Fan  ? 

Then  join  Screenland's  Fan 
Contest  —  Guess  the  Names 
of  Fourteen  Screen  Plays. 


A  hint:  Mary  Miles  Minter  and  Norma  Talmadge  are  two  of  the  stars 
in  the  fourteen  screen  plays  thai  fit  the  blanks  In  the  Fan  Contest. 


ist  Prize  $25;  2nd  Prize  $10;  3rd  Prize  $5 
THIRTY  MORE  PRIZES .' 

The  first  correct  list,  of  screen  plays  to  fill  the  blanks  in  the  charade  will  receive 
the  capital  prize  of  $25.  The  next  ten  correct  lists  will  receive  a  full  year's  sub- 
scription to  S GREENLAND,  for  the  $1  sent  for  the  special  contest  offer  of  five 
issues.  The  next  nearest  correct  list,  first  received,  will  win  the  second  prize  of 
$10  and  the  following  ten  next  nearest  correct  lists  will  get  one  full  year's  sub- 
scription for  the  $1  sent.  The  third  prize  of  $5  will  be  given  to  the  third  best  list 
of  screen  plays,  first  received,  and  the  ten  third  best  ones  received .  afterward  will 
be  given  one  wear's  subscription  (12  issues)  for  the  $1  contest  subscription.  In 
case  of  ties,  full  prize  awards  will  be  given  each  tieing  contestant.  The  contest 
is  a  short  one!  It  will  end  on  August  15  and  the  list  of  prize  winners  will  be 
announced  in  SCREENLAND  for  October.  Send  your  list  now  and  win  the 
capital  prize. 


The  Charade 


Once  upon  a  time  a  gay  young  chorus  girl  named  

danced  right  into  the  unsophisticated  heart  of  a  shy  young  fellow 
who  was  sitting  in  a  box.    He  was  so  very  timid  that  everybody 

called  him   _  ,  but  when  he  saw  his  divinity  dance  across 

the  stage  in  her  dainty  slippers  with  high  ,  he  felt  as  if 

he  were  looking    _  1      into  Paradise.    His  friends  all  said 

  ,  but  nevertheless  he  waited    — ,   —  

until  she  came  out.  By  this  time  he  had  fallen  _  in  love.  So 

he  proposed,  saying   "I'm  afraid,"  said  she.    "Why  ?" 

he  asked,  :  -  ■?   They  decided  to  get  some  expert  advice  on 

the  subject  of  marriage,  so  they  went  to  -  _.    That  great 

authority  said  to  the  girl,  "You  should  no  longer  be   

You  need  romance,  and  after  all,  marriage  is    —       And  so 

they  were  married  and  went  _  the  years  together. 

HOW  TO  ENTER  THE  FAN  CONTEST. 

Supply  the  names  of  fourteen  recent  screen  plays  for  the  blanks  in  the  above 
charade.  Clip  the  charade  and  attach  it  to  your  list,  on  which  are  the  names  of  the 
plays  you  have  selected,  numbered  in  the  order  of  their  sequence.  Then  fill  out 
the  coupon  below  and  send  it  to  "Fan  Contest  Editor,  Screenland,  Hollywood, 
California,"  with  one  dollar  (a  dollar  bill  is  the  most  convenient  form  of  money 
to  mail)  for  the  next  five  issues  of  SCREENLAND. 


(COUPON) 

Fan  Contest  Editor,  Screenland,  Hollywood,  California: 

Please  send  me  the  next  five  issues  of  SCREENLAND,  for  which  I  enclose 
one  dollar.  This  special  subscription  entitles  me  to  enter  the  "Fan  Contest" 
and  makes  me  eligible  for  the  prizes  offered. 


Name-  __ 

Address 
City   


 :.._State._ 


(The  regular  subscription  price  of  SCREENLAND  is  $2.50  a  year.) 


66 


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Copyright  1922 
The  Rudolph 
Wurlitzer  Co. 


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Could  You  Write  a  Story  Like  This  ? 


Could  you  recognize  the  vital  dramatic 
situation  in  this  scene — and  write  a  scen- 
ario about  it  ? 

It  is  a  scene  from  the  Rex  Ingram  Pro- 
duction (Metro  Pictures  Corporation), 
'The  Conquering  Power."  A  great  drama 
built  up  from  a  commonplace  story.  Sit- 
uations like  this  are  taking  place  around 
you  every  day.  Right  in  your  own  street, 
in  the  house  next  door,  in  your  home,  a 
great  drama  is  being  lived. 

Why  can't  you  build  a  plot  around  it? 
The  successful  photodramatists  use  the 
simplest  themes;  the  biggest  pictures  are 
built  around  trivial  incidents  of  everyday 
life.  The  successful  screen  writers  are 
men  and  women  who  see  the  dramatic 
value  of  everyday  occurences.  A  few 
years  ago  these  men  and  women  were  re- 
ceiving ordinary  salaries  for  doing  humble 
tasks.  Now  their  incomes  are  thousands 
and  tens  of  thousands  of  dollars  yearly. 

Producers  Want 
Your  Stories 

Producers  are  anxious  for  stories.  Lead- 
ers in  the  film  industry  are  encouraging 
new  screen  writers.  The  handful  of  pho- 
todramatists writing  today  cannot  fill  the 
demand.  Without  stories,  the  photoplay 
industry  cannot  exist.  The  producers  can- 
not get  enough  good  scenarios. 

Jast  a  few  years  ago  an  author  was 
glad  to  get  $15  for  a  motion  picture 
scenario. 

Today  the  average  price  paid  for  a  plot 
synopsis  is  $1,500. 

Not  Skilled  Writers— Just 
Ordinary  Men  and  Women 

The  successful  novelist  or  short  story 
writer  has  definitely  failed  in  the  motion 
picture  field.  Newly  trained  photodrama- 


Have  You  Creative  Imagination? 

Do  you  dream — day  dream — make 
up  fascinating  stories  about  strange 
adventures  and  queer  places  and 
interesting  people? 

Don't  you  sometimes  think  that 
you  could  have  improved  the  plot 
of  a  book  or  photoplay,  or  written 
a  more  interesting  story  around 
its  characters? 

Do  you  get  ideas  from  every-day 
incidents  and  trivial  adventures? 
Haven't  you  an  overwhelming  de- 
sire to  express  these  dreams  which 
you  must  suppress  and  because 
they  seem  flat  and  stale  when  you 
write  them  down? 

If  you  have  experienced  such 
feelings,  you  possess  creative  im- 
agination, the  first  requisite  of  a 
photodramatist.  Do  not  waste  this 
splendid  talent.  You  can  transform 
your  ideas  into  scenarios,  satisfy 
your  desire  for  expression  and 
gain  a  rich  financial  reward. 


tists  have  written  and  conceived  the  plots 
that  have  been  developed  into  the  most 
successful  feature  photoplays.  For  the 

most  part  the  men  and  women  who  are 
supplying  the  stories  were,  just  a  few 
years  ago,  teachers,  clerks,  housewives, 
farmers,  office  employees. 

You  do  not  need  literary  ability.  The 
producers  do  not  want  fine  writing.  They 
want  plots — strong,  dramatic  plots,  written 
in  simple  synopsis  form. 

The  Fox  Plan  of  Photoplay  Writing 
shows  you  how  to  write  scenarios  just  as 
the  producers  want  them. 

You  cannot  tell  at  this  time  whether 
you  possess  the  ability  to  write  photoplays 


No  test  or  analysis  could  tell  you,  for  your 
sense  of  dramatic  perception  is  undevel- 
oped and  your  conception  of  plot  is 
unformed. 

But  it  is  worth  finding  out,  certainly. 
For  if  you  want  to  write  stories— if  in  your 
day  dreams,  you  make  up  tales,  even  tales 
about  yourself — you  are  creating.  And 
remember,  it  does  not  take  fine  writing, 
just  the  instinct  to  create  and  a  knowl- 
edge of  photoplay  construction. 

Send  for  Free  Book 

In  a  beautifully  illustrated,  32-page 
book,  the  Fox  Plan  is  coupletely  outlined 
for  you.  It  tells  all  about 
your  opportunities  as  a 
scenario  writer.  It  tells 
about  the  great  Fox 
Photoplay  Institute 
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you  what  kind  of  ideas 
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Fox  Photoplay  Institute 

30  North  Michigan  Ave. ,  Dept.  1316  ,Chgo. 


Fox  Photoplay  Institute 

30  North  Michigan  Ave.,  Dept.  1316.  Chicago 

Please  send  me,  without  cost,  your  32-page  book 
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«o#Tt  with  the  roots-a    ecre   t        ^  med 
sar^ds  of  women  still  yearn.  J 
depilatories,  electrolysis  o    *e  ra^,  ^  ^ 
the  roots  to  thrive,  and  otten  immeaiately 
grow  faster  and  coarser,  you 

Ui-e  this  superior  remedy  ^ 

ZIP  gentiy  lifts  out  the 
thus  destroys  the  growth  without  elect 

Not  only  removes  hair- 
but  checks  Us  future  ^  and  painless 
Rapid,  simple  to  use  f rapran^  Guaranteed 
it  leaves  the  skin  soft  and  smoo 
bo.  to  harm  even  the  m s ^    -  ^ 

Women  everywhere  are  ^    ZIp.  Avoid 
gerous  methods  ana  are 

imitations.  TYPES  OF  SUPERFLU- 

Which  of  the  THREE  TYPES  W  gQOK, 


if 


done. 


Specialist 

562  Fifth  Ave.(46thSt)  <^g^ty 
At  All  Good  Stores 


or  d 


CREATIONS 


Use  at  Home 
or  ask  at 
Your  Beauty  Shop 

j©      NEW  YORK 


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TO-DAY 

Madame  Berthe 
Dept.  D-B,  562  Fifth  Ave.,  New  York. 

Please  send  me  your  FREE  BOOK  "Beauty's 
Greatest  Secret"  telling  of  the  three  types  of 
superfluous  hair;  also  a  sample  of  your  Massage 
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Ihe  new  perfect  arched  brow,  so       S     the  growth  of  hair. 


defined,  live  from  unsightly  li.iirs. 

Sheer  waists  no  longer  permit  ah  un- 
derarm showing  even  a  suggestion  of 
unsightly  hair. 


Ihe  new  pertect  arched  brow,  so  \  the  grow 
expressive,  is  readily  had  with  ZIP.        \  Name  

Address- 


_City  &  State- 


lacking  and  shaving  arc  passe. 

rounded  arm—free  from  all 
tir— is  a  necessity  with,  the 
vogue  for  short  sleeves. 

Women  everywhere  are  discarding 
e  old  dangerous  methods  and  are 
Jw  using  ZIP. 


SCREEMLAND  C*ii£™i» 


Now  We're  Going  To 
Make  a  Motion  Picture! 

We  shall  take  a  trip  into  a  big  Hollywood  studio— never  heed 
that  watchful  guard  at  the  gate— and  watch  in  the  sacred 
precincts  of  picturedom  the  progress  of  a  photoplay,  from 
scenario  to  the  final  screen  presentation. 

We  shall  make  the  fascinating  journey  from 

"Pen  to  Silversheet" 

By  Melvin  M.  Riddle 
Author  of  "Behind  the  Camera  with  Elinor  Glyn" 


"How  Do  They  Do  It?" 

You  have  often  asked  yourself  this  question,  as  you  sat  in  the  dim  coolness  of  the  theatre  and  watched 
the  shadowy  story  unfold  before  you  on  the  screen. 

You  have  thought  of  pictures  in  terms  of  actors,  directors  and  backgrounds,  probably.  If  so,  your 
knowledge  covers  only  about  one-fifth  of  the  varied  factors  that  make  the  finished  picture  that  thrills 
you  on  the  silver  screen. 

If  you  would  really  know  what  goes  on  behind  the  scenes  in  Filmland; 

If  you  aspire  to  make  a  place  for  yourself  in  pictures,  either  as  a  |  _ 

player  or  writer; 

If  your  scenarios  have  been  coming  back  because  your  ignorance  of 
picture  production  has  concealed  the  real  merit  of  your  plots— 

You  will  want  this  book.   But  you  must  act  quickly,  for  the  edition  J                 ?1  00  (checkf  money  order, 

of  'Ten  to  Silversheet"  is  limited  and  will  soon  be  exhausted,    ine  ,  stamps)  for  which  please  ship  immem- 
small  sum  of  $1.00  brings  it  to  you.   Don't  Wait!  Clip  the  attached 
coupon  and  mail  it  to  us  TODAY ! 

TIMES-MIRROR  PRESS 

Publishers 

118  So.  Broadway,  Dept.  A,  Los  Angeles,  Calif. 


Times-Mirror  Press  Co.,  Publishers, 
118  S.  Broadway,  Dept.  A,. 
Los  Angeles,  Cal. 


ately  one  copy  of  "Pen  to  Silversheet." 


Name 


Address 


City. 


State. 


4 


Hajy***  SCREENLAND 


The  Price  You  Pay 

For  dingy  film  on  teeth 


Let  us  show  you  by  a  ten-day  test 
how  combating  film  in  this  new  way 
.beautifies  the  teeth 

Now  your  teeth  are  coated  with  a  vis- 
cous film.  You  can  feel  it  with  your 
tongue.  It  clings  to  teeth,  enters  crev- 
ices and  stays.  It  forms  the  basis  of 
fixed  cloudy  coats. 

That  film  resists  the  tooth  brush.  No 
ordinary  tooth  paste  can  effectively  com- 
bat it.  That  is  why  so  many  well-brushed 
teeth  discolor  and  decay. 

Keeps  teeth  dingy 

Film  absorbs  stains,  making  the  teeth 
look  dingy.  Film  is  the  basis  of  tartar. 
It  holds  food  substance  which  ferments 
and  forms  acids.  It  holds  the  acids  in 
contact  with  the  teeth  to  cause  decay. 

Millions  of  germs  breed  in  it.  They, 
with  tartar,  are  the  chief  cause  of  pyor- 
rhea. Thus  most  tooth  troubles  are  now 
traced  to  film.  And,  despite  the  tooth 
brush,  they  have  constantly  increased. 

Attack  it  daily 

Careful  people  have  this  film  removed 
twice  yearly  by  their  dentists.  But  the 
need  is  for  a  daily  film  combatant. 

Now  dental  science,  after  long  research, 


has  found  two  ways  to  fight  film.  Able 
authorities  have  proved  their  efficiency. 
A  new-type  tooth  paste  has  been  per- 
fected to  comply  with  modern  require- 
ments. The  name  is  Pepsodent.  These 
two  film  combatants  are  embodied  in  it, 
to  fight  the  film  twice  daily. 

Two  other  effects 

Pepsodent  also  multiplies  the  starch 
digestant  in  saliva.  That  is  there  to  di- 
gest starch  deposits  which  otherwise  may 
ciing  and  form  acids. 

It  multiplies  the  alklaninity  of  the 
saliva.  That  is  Nature's  neutralizer  for 
acids  which  cause  decay. 

Thus  every  use  gives  multiplied  effect 
to  Nature's  tooth-protecting  agents  in  the 
mouth.  Modern  authorities  consider  that 
essential. 

Millions  employ  it 

Millions  of  people  now  use  Pepsodent, 
largely  by  dental  advice.  The  results  are 
seen  everywhere — in  glistening  teeth. 

Once  see  its  effects  and  you  will  adopt 
it  too.  You  will  always  want  the  whiter, 
cleaner,  safer  teeth  you  see.  Make  this 
test  and  watch  the  changes  that  it  brings. 
Cut  out  the  coupon  now. 


REG.  U.S.  ■  


The  New-Day  Dentifrice 


Endorsed  by  modern  authorities  and 
now  advised  by  leading  dentists  near- 
ly all  the  world  over.  All  druggists 
supply  the  large  tubes. 


10-DAY  TUBE  FREE 


830 


THE  PEPSODENT  COMPANY, 

Dept.  894,  1104  S.  Wabash  Ave.,  Chi- 
cago, III. 

Mail  10-day  tube  of  Pepsodent  to 


ONLY  ONE  TUBE  TO  A  FAMILY 


Tomorrow 

 WITH  APOLOGIES  TO  NO  ONE— 

(Copyright,  1922) 

The  pioneers  of  the  Motion  Pic- 
tures have  become  its  leading  ex- 
ponents. But  the  great  minds  of 
Tomorrow  will  teach  us  that  which 
we  now  fondly  term  an  Art  is  but 
a  thin  veneer  concealing  elemental 
crudities. 

Griffith,  master  of  Today,  ap- 
proached the  fourth  dimension  of 
feeling  in  Way  Down  East  by  flash- 
ing four  smashing  transitions  in  as 
many  successive  scenes.  Then  he  re- 
lapsed into  burlesque  that  reeked  of 
the  clown  ring.  Sorrow,  humor,  sin 
and  love  were  whiplashed  across  the 
screen  in  showing  the  guests  at  the 
squire's  party.  The  descent  into  buf- 
foonery were  the  incidents  of  Hi 
Holler's  broken  egg  and  a  kicked 
spinster. 

CrAFT  parades  as  Art,  Today. 
King  Vidor,  a  script  boy  seven  years 
ago,  played  film  chords  with  divinity 
and  became  a  producer.  C.  B.  DeMille 
mingled  the  skill  of  stage  carpenters 
and  dressmakers  no  better  than  less 
ambitious  chefs  mixed  salad  dress- 
ings.  Von  Stroheim  used  the  shell- 
game  trick  and   outguessed  us  by 
showing  the  depravity  of  respectabil- 
ity. Rex  Ingram,  loved-inspired,  sub- 
sided like  a  fatigued  dervish  after  his 
Four  Horsemen.  Charles  Ray  gave  us 
the  title-less  The  01'  Swimmin  Hole 
and  since  the  plunge  all  efforts  to 
resuscitate  him  from  mediocrity  have 
failed.  Success  of  the  great  spectacles 
belongs  to  landscape  architects  and 
nimble  cameramen  deserve  the  dubi- 
ous credit  when  Mack  Sennett  occa- 
sionally invades  polite  entertainment. 
The  screen  is  groping  toward  Art, 
but  it  rarely  grasps  it. 


Wi 


HEN  it  is  said  that  the  Motion 
Picture  embodies  all  of  the  Arts  it  is 
meant  that  the  literary  art  of  the  au- 
thor, the  dramatic  art  of  the  scenarist 
and  director,  the  histrionic  art  of  the 
actor  and  the  fine  arts  of  the  tech- 
nical director  and  of  the  photographer 
are  combined  in  one  product.  In  ad- 
dition, tempo,  an  element  of  music, 
is  occasionally  contained. 

Art  is  an  original  pattern  woven  in 
the  cloth  of  beauty.  Craft  is  the  ap- 
plication of  the  principles  of  artistic 
construction.  The  artist  designs,  cre- 
ates. The  craftsman  applies  the  artis- 
tic creation.  An  artist  may  be  a 
craftsman  and  a  craftsman  may  con- 
ceive and  thus  be  an  artist,  but  Craft 
is  never  Art. 


Entered  as  second-class  matter  at  the  post* 
office  at  San  Francisco,  California. 


Screen  land 


^Announcing  the  J&v 


OLIVER 


A  sensation  in  typewriter  ad- 
vancement, the  climax  of  26 
years  of  development— our 
latest  and  finest  model,  No.  11 


FREE  TRIAL 

Keep  it-  or  Return  it 


Our  millionth  Oliver  is  a  new 
model!  It  comes  at  a  time  when 
most  people  have  thought  that  the 
ultimate  had  been  reached  in  type- 
writer development.  It  is  a  contra- 
diction of  that  thought,  and  brings 
many  surprising  advancements 
and  betterments.  Everyone  who 
sees  it  is  amazed. 

It  establishes  a  new  limit  in  re- 
finements. Yesterday's  standards 
now  become  antiquated.  To  oper- 
ate it  is  to  experience  a  new  thrill 
in  typing.  To  see  its  beautifully 
typed  sheets  is  to  have  a  new  ap- 
preciation of  what  a  super-type- 
writer can  do. 

But  Not  $100 

The  natural  conclusion  would  be 
that  we  would  continue  the  custom 
of  $100  as  a  standard  price,or  even 
ask  more  for  a  finer  model. 

But  we  offer  this  wonderful 
Oliver  Speedster  on  the  same  plan 
we  have  recently  adopted  in  sell- 
ing the  No.  9. 


That  is,  we  ship  direct  from  the 
factory  to  the  buyer,  saving  you 
the  $35  that  an  indirect,  extrava- 
gant selling  system  would  require. 

Yet,  in  all  our  27  years  experi- 
ence, this  is  the  finest  typewriter 
we  have  ever  built.  If  any  type- 
writer is  worth  $100,  it  is  this 
Oliver  Speedster. 

How  We  Save  You  $35 

It  is  impossible  to  fully  describe 
the  superiorities  of  the  new  Oliver 
Speedster  in  print.  You  must  see 
it  and  operate  it  to  appreciate  its 
betterments. 

So  we  ship  it  to  you  for  five  days 
free  trial,  without  your  sending  a 
penny  in  advance  and  without 
obligating  you  to  buy. 

We  want  you  to  try  it  in  the 
privacy  of  your  own  office  or  home. 
Compare  it  with  any  typewriter. 

We  let  the  Oliver  sell  itself.  You 
are  the  sole  judge.  Could  any  offer 
be  fairer?  Think  how  few  articles 
dare  to  be  sold  this  way! 


If  You  Agree 

that  the  Oliver  Speedster  is  the 
finest  typewriter,  regardless  of 
price,  and  want  to  own  it,  send  us 
$4  after  five  days,  then  $4  per 
month  until  $65  is  paid. 

If  you  would  rather  pay  $100  and  not 
get  this  latest  model,  ship  the  Oliver 
Speedster  back  at  our  expense. 

Throughout  the  trial  you  are  your  own 
salesman.  You  need  not  be  influenced  by 
others.  This  new  plan  has  been  endorsed 
by  thousands  who  have  bought  Olivers 
at  a  saving.  Remember,  over  1,000,000 
Olivers  have  been  sold,  both  to  leading 
businesses  and  individuals. 

So  Simple 

Merely  mail  the  coupon  and  it  will 
bring  EITHER  this  wonderful  new  Oliver 
Speedster  for  Free  Trial,  or  Further  In- 
formation. Check  your  preference. 

This  is  a  rare  opportunity.  Think  of  it 
—the  latest  model  at  a  $35  saving!  It  is 
the  ONLY  offer  of  its  kind. 


THE  OLIVER 
TYPEWRITER 

COMPANY 
0000  Oliver  Type 
•writer  Bldg. 
Chicago,  111 


Name. 


THE  OLIVER  TYPEWRITER  COMPANY  

'  4  J70HW  Typawrltar  Bide-.  Chicago.  III. 

□ Ship  me  a  new  Oliver  No.  1 1  Typewriter  for  _ftve  dais  free  inapec- 
rion   lfl  keen  it  I  will  pay  $65  as  follows:  $4  at  the  end  of  trial 

La  i  *~  ri^rlnor  t^Ti  nprrent  and  remit  to  you  $58. 50.   It  l  aeciae  no. 


$35 


od  1  am  to  deduct  ten  percent  and  remit  to  you  $58.—.  —  - 
to  keep  it,  1  will  ship  it  back  at  your  expense  at  the  end  of  five  days. 


Address  . 


My  shipping  point  fa   """" ~~~~ 

□ Do  not  send  a  machine  until  I  order  it.  Mall  n>e  Jour  book-  _  The 
High  Cost  of  Typewriters  -The  Reason  and  the  Remedy,  the 
Speedster  catalog  and  further  information. 


City. 


.  State. 


Occupation  or  Business. 


n*}*™*  SCREENLAND  California 


The  touchstone  of  success  in 
the  world's  new  art. 

A  single  artist  can  produce  a  masterpiece  in  painting,  in 
sculpture,  in  architecture. 

A  small  company  can  stage  a  great  play  in  the  theatre. 
A  poor  man  can  write  and  have  published  an  undying  work 
of  literature. 

But  in  the  art  of  the  motion  picture,  $100,000  is  as  $10 
m  any  other  art.  There  can  be  no  success  without  the  power 
of  intricate  organization,  organization  so  highly  developed 
that  it  can  command  the  services  of  acknowledged  genius, 
and  this  must  be  backed  by  the  money  power  that  means 
absolute  freedom  of  scope  in  producing  motion  pictures 
that  will  satisfy  the  discriminating  public  of  today. 

Such  an  organization  is  Famous  Players- Lasky 
Corporation,  producers  of  Paramount  Pictures. 

Independent  effort,  diffusion  of  power,  scattered  attempts 
to  win  public  approval,  can  never  match  the  work  of  an 
organization  that  holds  to  the  ideals  that  have  been  and 
continue  to  be  the  inspiration  of  Paramount. 

That's  why  "if  it's  a  Paramount  Picture  it's  the  best 
show  in  town." 


^Paramount  Pictures 


tember 


RELEASES 

'Phone  your  theatre  for  date  of  showing 
JetaeL.Uskv present,  ~ 

M  lona  Swanson:"/fc?r 

A  Sam  Wood  Production. 

Scenario  by  Elmer  Harris  and 
Percy  Heath.  Based  on  the 
p'.ay  by  Ann  'Nichols.  Cast 
includes  David  Powell,  Wal- 
ter Hiers  and  Harrison  Ford. 


Qilded 
Cage* 


T  IUKOB  PRESENTS  A 

.William  deMilIeiw«rf* 
Vice  People 

ruithWallace  Reid 


Bebebwiks.CanrodNbqel 
£L  Julia  Faye 


Screen  play  by 
Clara  Beranger. 
From  the  play  by 
Rachel  Crothers. 


AOOLPH  ZVKOR' 
PRESENT* 


JESSE  LASKY  PRESENTS 

Rodolph  Valentino  m 

A  Fred  Nifclo  produc-  "Blood 

tion.    Supported  by  Lila  CLfld 
Lee  and  Nita  Naldi.  From       C  n  n  gj" 
thenovelbyVicenteBlasco  ^JDILTIVL 
ibanez  and  the  play  by  Tom  Gushing.  Adap- 
tation by  June  Mathis. 

„  FAMOUS  PLAYERS  rLASKV  CORPORATION  pnvmm 

Me  Valty  ofSilentMen 

with  *s  *r 

ALMA  ^rom      story  &y  James  Oliver 

mm ciio  Curwood.    Directed  by  Frank 

RUBENS  Borzage. 

A  Cosmopolitan  production. 

Thejiren  Call" 

Dorothy  Daltonj>aMPowditMHd*llUwh 

An  Irvm  V.  Willot  Production.  By  J.  E.  Nosh 
Adaptation  by  J.  E.  Nash  and  Philip  Hum. 

Jesse  l.Laskv  Presents  a  Peter  RKyne  Special 

JacKHolt-  "While 

Adapted  by  Albert  S.Leiino  SCLtjCLVL 
from  the  novel,  the  "Parson  ^y- 
of  Panamint."  Directed  by  jlCQJJS 
Joseph  Henabery.  Jt 

Jesse  E~.Iasky  Presents 

Cecil  B.De  Mille's  Production 
Manslaughter" 

With  Thomas  Meighan,  Leatrice  Joj 
and  Lois  Wilson. 

From  the  novel  by  Alice  Duer  Miller. 
Adaptation  by  Jeanie  Macpherson 


SEP  '5  1922     ©C1B5  347920 


S 


OCTOBER,  1922 


VOL.  VI      No.  1 


CREENLAN  D 


DO 


— is  making  one  yecufs  supply  of  brilliant,  original, 
irresistibly  attractive  Ic  over  paintings  for  Screenland. 
And  this  photograph  \hows  him  at  work  in  his  studio 
beginning  the  first  one,  on  this  month's  cover  of  Screen- 
land. 

"A  pretty  cover  doesn't  make  a  magazine  really 
better,"  a  reader  wrote  to  us  not  long  ago,  "but  it  makes 
it  seem  better."  And  it  is  true  that  an  attractive  cover 
makes  a  magazine  in  the  same  degree  that  clothes  make 
the  man.    Or  to  put  it  in  the  words  of  Will  Rogers: 

"Clothes  do  not  make  the  man,  but  they  often  make 
him  ridiculous" 

In  This  Number; 


^  Nine  Portraits  of  Players 

Mary  Pickford 
Norma  Talmadge  Irene  Castle 

Dorothy  Phillips  Constance  Talmadge 

Viola  Dana  Helen  Ferguson 

Mary  Jane  Sanderson         Grace  Darmond 

1£  Articles  for  Grown-ups 

Confessions  of  a  Star  Interviewer  35 
By  A  Real  One 

Secrets  of  the  Stars  27 
By  Patrick  Tarsney 

So  This  Is  Hollywood!  24 
A  Picture  to  Prove  It 

^  Serial  Subjects 

The  Love  Pirate  43 
Written  by  the  Stars 

My  Trip  Abroad  -  30 
Charlie  Chaplin's  Remarkable  Diary 

Behind  the  Camera  with  Elinor  Glyn  46 


^  Critical  Comment  of  the  Screen 


The  Picture  of  the  Month 
Blood  and  Sand 


37 


Little  Hints  for  Playgoers  38-42 
A  Score  of  Photoplays  to  look  for  and  to  look  out  for 

C|  Another  Big  Little  Story  About 
the  Movies 


Punish  the  Villain 

By  Louis  Weadock 


II  Departments  for  Everybody 

Little  Hints  for  Booklovers 

Book  Talk  with  Screen  Aspects 

What's  the  Matter  With  My  Story? 
Those  Scenario  Writers 

Your  Own  Page 

What  Readers  Say, 


20 


52 
49 
54 


"A  surprise  in  every  issue" 

See  the  $200  prize  contest  that  begins  this  month 
—  on  page  ten  — 


DO 


Published  Monthly  by  Screeland  Publishing  Company 
Publication  Office:  460  Fourth  Street,  San  Francisco,  California       Administrative  and  Editorial  Offices:  Hollywood,  California 

Yearly  subscription  price,  $2.50  in  the  United  States  and  possessions,  Mexico  and  Canada;  in  foreign  countries,  $3.50..  Single  copies,  25  cents.  Back  num- 
bers, 30  cents.  Entered  as  second-class  matter  April  15,  1922,  at  the  postoffice  at  San  Francisco,  California,  under  the  act  of  March  3,  1879.  Previously 
entered  at  the  postoffice  at  Los  Angeles,  California,  as  Screenland  Magazine,  August  27,  1920.  New  York,  120  Fifth  Avenue;  Boston,  Little  Building; 
Chicago,  First  National  Bank  Building.  Copyright  1922  by  Screenland  Publishing  Co.  All  rights  reserved.  Material  may  be  reprinted  by  crediting  Screen- 
land  Magazine.   (Member  Audit  Bureau  of  Circulations.)   Address  all  communications  io  Screenland  Publishing  Co.,  Hollywood,  California. 


8 


Hcnywooi  SCREENL&ND  C*K&*™. 


Rate 
10  cents 
a  word 


Last  forms 
November  Issue 
close 
August  15 


ASTROLOGY 


ASTROLOGY— Stars  tell  Life's  story.  Send 
birthdate  and  dime  for  trial  reading.  Eddy, 
Westport  St.,  33-79A,  Kansas  City.  Missouri. 


HELP  WANTED 


PHOTOPLAYS 


PHOTOPLAYS  WANTED  FOR  CALIFOR- 
NIA PRODUCERS;  also  Stories  for  publica- 
tion. (Manuscripts  sold  on  commission.) 
Submit  manuscripts,  or  if  a  beginner,  write 
for  Free  Plot  Chart  and  Details.  Harvard 
Company,  312  San  Francisco. 


SONG  WRITERS— If  you  have  song  poems 
or  melodies  write  me  immediately.  I  have 
wonderful  proposition  to  offer  you.  Ray 
Hibbeler,  D-167,  4040  Dickens  Ave.,  Chicago. 


WRITE  the  words  for  a  song.  We  com- 
pose music.  Submit  your  poems  to  us  at 
once.  New  York  Melody  Corp.,  438  Fitz- 
gerald Bldg.,  New  York. 


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tively teaches  vou  how.  Price  $3.00.  Anna  C. 
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°yke  Editors'  PAGE 

Myron  Zobel  Editor  Syl  MacDowell,  Managing  Editor 


Hiss  the 


Bad  Ones 


T 


IHE  good  old  custom  of  hissing 
seems  to  be  dying  out,  In  the 
old  days  one  had  live  actors  at 
which  to  throw  ripe  eggs  and  tomatoes  and  the  rest 
of  the  garden  truck  that  was  too  far  gone  to  send 
East  for  hotel  consumption. 

Nowadays  the  silver  screen  has  largely  removed 
the  pleasure  of  vegetable  ovations.  But  the  cause  of 
them  still  holds  good. 

It  is  not  right  to  leave  the  theater  dissatisfied  until 
that  dissatisfaction  has  been  given  voice.  The  least 
thing  you  can  do  is  to  tell  the  manager  when  a  pic- 
ture you  have  seen  displeases  you.  If  he  is  a  good 
manager  he  will  appreciate  this  courtesy,  for  it  really 
is  a  courtesy.  You  will  help  him  to  make  money  by 
giving  him  an  idea  of  the  kind  of  pictures  for  which 
you  are  willing  to  spend  your  money. 

If  you  are  unwilling  to  step  right  up  to  the  box 
office  and  register  a  kick,  the  next  best  thing  is  to 
start  a  low  hum  and  a  stamping  of  feet ;  or  a  gentle 
hissing  through  closed  teeth  will  serve  as  well.  Try 
to  get  as  many  of  your  friends  as  possible  who  are 
sitting  about  you  to  join  you  in  this  public  demon- 
stration of  disgust. 

The  film  actors  will  not  be  distracted  and  the  man- 
ager may  derive  profit  from  the  demonstration.  It 
may  even  come  back  eventually  to  the  actors  them- 
selves, the  directors  and  the  producers  that  gave  birth 
to  the  photoplay  that  caused  you  pain.  We  will 
thank  you  and  so  will  those  who  really  love  the 
motion  picture  art.  Help  to  make  the  pictures  better 
by  telling  them  when  they  are  bad.  Don't  let  the 
good  old  custom  of  hissing  die  an  unnatural  death. 


Their 
Pasts 


c 


APTAINS  of  finance  like  to  boast 
of  their  humble  beginnings.  But 
movie  celebrities  never  try  to  inter- 
est others  in  their  pasts.  It  is  taken  for  granted  that 
everyone  has  at  least  one  of  his  own. 

A  group  of  calloused  press  agents  were  trying  to 
summon  from  memory's  storehouse  the  oldest  "pub- 
licity gag"  in  existence. 
"The  star  who  has  her  jewels  stolen,"  one  began. 
"The  gateman  who  fails  to  recognize  the  star  in  her 
make-up,"  offered  another. 


"The  ingenue  who  adores  reading,"  was  the  hoary 
fable  recalled  by  the  third. 

But  the  fourth  one,  in  a  brilliant  flash  of  reminis- 
cence, said : 

"The  movies  have  never  used  the  oldest  hokum. 
It  is  the  one  we  hear  every  time  a  business  man 
makes  a  success :  that  he  was  raised  on  a  farm  and 
sold  papers  for  a  living.  I  know  its  hokum,  because 
nobody  could,  make  a  living  selling  papers  on  a  farm." 


Modes  in 
Morality 


A: 


•GOOD  CONDUCT  CLAUSE," 
the  name  of  a  short  story  that 
appeared  recently  in  this  maga- 
zine, is  now  being  written  and  observed  in  the  em- 
ployment of  players  in  the  largest  motion  picture 
stock  company  in  America. 

Rigid  rules  and  regulations  governing  their  public 
and  private  lives  have  been  issued  to  the  players,  by 
the  company,  "to  protect  the  good  name  of  their 
profession." 

Some  interesting  paragraphs  appear  in  the  pub- 
lished code : 

"Be  careful  in  your  choice  of  associates.  Remem- 
ber, 'a  man  is  known  by  the  company  he  keeps.'  A 
woman  is  known  by  the  company  she  avoids." 

"Avoid  alcoholic  stimulants  and  late  hours.  If  you 
are  a  woman,  nothing  can  destroy  your  good  looks  so 
quickly ;  if  you  are  a  man,  nothing  can  incapacitate 
you  so  much  for  the  arduous  work  of  the  studio." 

"Ability  to  portray  emotions  is  your  stock  in  trade, 
but  the  place  for  portrayal  of  emotion  is  on  the 
screen,  not  in  the  studio.  *  *  *  Burst  of  so- 
called  temperament  in  the  studio  will  not  be  toler- 
ated.   *    *    *    We  are  all  grown  men  and  women." 

"Any  member  failing  to  *  *  *  avoid  places, 
circumstances  and  conduct  which  might  in  any  way 
bring  themselves  and  the  industry  into  disrepute 
*    *    *    is  liable  to  instant  dismissal." 

Players  are  advised  to  read  good  books  to  broaden 
their  outlook  on  life ;  to  read  a  good  newspaper  and 
to  keep  abreast  of  developments  in  politics,  literature, 
economics,  art.  "Remember  that  your  mentality  and 
tastes  shine  through  your  eyes  on  the  screen,"  it  is 
asserted. 

We  are  happy  to  recognize  that  the  time  has  come 
when  notoriety  of  a  player  will  be  regarded  by  their 
associates  as  an  injurv  to  them  all. 


10 


BJiyW  SCREENLAND  C»ii£»i» 


nly  Hat 
jSrOut  Door  Life 

-—because  it's  the  most 
practical.  Right  up  to  the 
minute  in  style.  That's  why 
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ing them.  Simply  great  for 
sport  wear.  It  stays  put — 
looks  charming  —  puts  a  fin- 
ishing touch  to  your  out- 
door appearance.  Looks 
wonderful  on  Priscilla  Dean. 
It  will  look  just  as  wdl  on 
you. 

And  such  wonderful  colors! 
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you're  motoring.  Inking,  boat- 
ing, golfing,  playing  tennis  —  in 
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Tbchat  wtt  Ik 

rakish, 
janfr,  carefree 
ajpeiruce 


rmc3aDeu 

Tama 
ceaie  ietwo 
sizes — o&£  for 
yesgg  ladies, 
tise  olber  (or 
cbtttf 


For  year  Taca- 
tioG— a  PriscSia 
Dean  Tun.  The 
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made  of  the  finest  qu.'.lity  viede 
cloth  —  a  soft  pliable  material  that 
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Always  has  that  trim,  tailor-made 
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Your  wardrobe  is  not  com- 
plete without  a  Priscilla  Dean 
Tarn.  It  costs  only  $1. 50.  No 
reason  why  you  should  not  have 
at  least  one  besides  your  regular 
hat. 

The  best  stores  carry 
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cannot  get  it,  send  $1.50  wjth 
the  coupon  or  letter.  Be  sure  to 
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inside  the  band 


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Enclosed  is  JSt.so  (Canada,  #2.00)  for  which  please 
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MFCS  cf   PRISCILLA   DEAN  HATS 


i 


What 
Is  the  Title 
of  This 
Picture? 


Paramount  Photo  by  Keyes 


$200  IN  PRIZES 


These  prizes  will  be  given  to  non- 
subscribing  contestants : 

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Second  "  5 

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Fourth  "  1 


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testants sending  one  dollar  for  a  six- 
month  trial  subscription: 

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HOW  TO  ENTER  SCREENLAND  TITLE 

CONTEST 

Any  reader  may  send  title  suggestions,  as  many  as  he  chooses,  writing  only 
one  title  to  each  sheet  of  paper.  Attach  your  name  and  address  to  each  sheet 
and  envelopes  should  contain  nothing  but  the  titles  unless  you  wish  to  compete 
for  the  grand  prizes,  headed  by  a  first  prize  of  $100.  In  this  case,  enclose  a 
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A  title  may  be  original  or  quoted  from  some  well-known  author.  It  should 
not  contain  more  than  20  words.  The  contest  begins  in  this  issue  and  will 
appear  in  the  following  six  issues  of  Scrf.enland.  The  contest  will  close  on 
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tying  contestant. 

Members  of  Screenland's  staff  will  not  take  part  in  the  contest 
What  does  the  above  photograph,  posed  by  Miss  Shannon  Day,  film  actress, 
suggest  to  you?  To  list  your  answers  in  the  grand  prize  group,  attach  one  dollar 
to  the  coupon  below,  and  mail  it  with  your  title  ideas.  Every  contestant  sending 
a  subscription  will  receive  a  personal  response  from  Miss  Day  and  an  auto- 
graphed photograph  as  reproduced  above. 


SCREENLAND  TITLE  CONTEST  EDITOR: 

This  subscription,  for  the  next  six  issues  of  SCREENLAND,  for  which  I  enclose  one 
dollar,  entitles  me  to  compete  for  the  grand  prize  offer  in  SCREENLAND.  The  titles  I  sub- 
mit for  the  photograph  of  Shannon  Day  are  enclosed  herewith. 


Name  


Address- 


City  


State . 


HERE  & 

^^iJMHERE 


fl  The  versatility  of  Henry  dive,  the  artist,  ranges  from  the  June 
day  technique  of  this  favorite  portrait  of  our  Mary  to  the  robust 
style  of  the  girl  on  the  cover.  Reproduced  by  special  permission 
of  MARY  PICKFORD. 


«I  Brother-in-law  Schenck  saw  "East  is  West"  last  season  on 

Broadway  and  laughed  so  much  that  somebody  sold  him  the 

picture  rights.  The  play  is  being  filmed   bv  CONSTANCE 

TALMADGE.  Photograph  'by  Melbourne  Spurr. 


*.  >  k 


•I  "Hurricane's  Gal,"  a  suxeping  Holubar  drama,  marks  the  return 
to  the  screen,  after  a  year's  absence,  of  DOROTHY  PHILLIPS. 

Photograph  by  Edwin  Bower  Hesser. 


ci£<?n 


20 


Ptomaine  Hall!  That  was  the 
joyful  title  given  the  Planet 
Studio  cafeteria  by  the  actors 
and  actresses  who  crowded 
through  its  swinging  doors  at 
noon  each  day.  At  a  little  table 
that  faced  a  wide  window  that 
looked  upon  the  studio  yard  the 
friendly'  little  president,  Mr. 
Bloom,  met  and  conquered  one 
of  his  most  interesting  problems. 
It  all  began  

-during  the  noon  hour,  and 


the  cafeteria  in  the  Planet  Studio  in 
Hollywood  was  crowded.  From  the 
bright  sunshine  outside,  actors  and 
actresses,  all  in  evening  dress  and  with 
make-up  on  their  faces,  came  through 
the  swinging  doors,  passed  down  an 
aisle  on  one  side  of  which  was  a 
lunch  counter  and  on  the  other,  tables 
at  each  of  which  there  were  four 
chairs,  picked  up  trays,  silverware  and 
paper  napkins  from  a  shelf,  stopped  in 
front  of  a  steam-table,  where  they 
were  served  by  three  white-aproned 
young  men  and  one  man  whose  apron 
once  had  been  white,  and  then,  each 
carrying  his  or  her  laden  tray,  steered 
for  the  first  unoccupied  chairs  ihey 
could  find. 

Fifteen  minutes  after  the  noon  gong 
rang  in  the  studio,  there  was  in 
Ptomaine  Hall  only  one  table  that  was 
surrounded  by  empty  chairs.  This 
table  faced  the  wide  window  that 
looked  upon  the  studio  yard  and  dif- 
fered from  its  fellows  in  that  it  was 
covered  with  a  cloth,  held  napkins 
that  were  of  linen  instead  of  paper, 
and  was  flanked  by  chairs  that  were  of 
wicker  instead  of  pine.  These  wicker 
chairs  were  the  seats  of  the  mighty  and 
were  reserved  for  Mr.  A.  Bloom,  presi- 
dent of  the  Planet  Film  Corporation, 
Inc.,  his  studio  manager,  his  director 
and  his  scenario  writer.  His  star  and 
her  mother  always  lunched  in  the 
•  star's  dressing  room,  where,  although 
the  food  was  colder,  the  company  was 
more  exclusive,  and  the  leading  man 
never  lunched  at  all. 


Mi 


LR.  BLOOM,  the  plump  little 
president,  whose  waist-line  was  the 
least  of  his  troubles,  was  the  first 
of  the  linen  napkin  set  to  arrive  for 
lunch  this  bright  autumn  day.  He 
came  in  nodding  and  smiling,  for  he 
was  a  friendly  little  man,  who  always 
took  it  for  granted  that  everybody  else 
was  as  glad  to  see  him  as  he  was  to 
see  them.  There  was  genuine  warmth 
in  the  smiles  and  nods  that  answered 
his,  and  this  pleased  him  so  much  that 
he  continued  to  smile  and  nod,  until 
after  seating  himself  in  a  chair  whose 


wicker  back  was  toward  the  window, 
he  noticed  that  in  the  cafeteria  there 
were  several  more  actors  and  actresses 
than  he  had  expected  to  see. 

"The  pay-roll  has  got  inflammation 
again,"  he  muttered  to  himself,  and 
turning  to  the  market  page  in  the 
morning  newspaper,  which  as  yet  he 
had  not  had  time  to  read,  he  said 
aloud : 

"Bowl  of  bread  and  milk,  please." 

"No  room  here  for  kids,"  replied, 
surlily,  the  manager  of  Ptomaine  Hall, 
a  corpulent  and  consequential  person, 
who  did  his  own  eating  elsewhere,  but 
who  always  made  it  a  point  to  wait 
upon  Mr.  Bloom. 

The  latter,  looking  up  in  justifiable 
surprise,  saw  that  the  manager  had 
spoken  not  to  him  but  to  a  boy  of 
about  ten  who  stood  just  inside  the 
door. 

"What  is  it,  sonny?"  asked  Mr. 
Bloom,  who  had  no  children  of  his 
own. 

"I'm  looking  for  Dad,"  said  the 
bov ;  "he  told  me  he  would  be  here  for 
lunch." 

"Stand  outside  and  wait  for  him," 
directed  the  man  who  managed  the 
cafeteria. 

"Sit  down  and  wait  for  him,"  coun- 
termanded the  man  who  owned  it,  and 
when  the  boy,  smiling  gratefully, 
dropped  into  one  of  the  wicker  chairs, 
Mr.  Bloom  smiled  back  and  said  : 

"How  about  having  a  bite  to  eat?" 


UN1SH 

By  LOUIS 

Illustrated  by 


"No,  thanks,"  answered  the  young- 
ster, "I'll  just  sit  and  wait." 

He  looked  at  the  door  and  Mr. 
Bloom  looked  at  him. 

"What  are  you  thinking  about?" 
asked  the  man. 

"My  dad,"  said  the  boy  promptly. 

"Got  a  nice  dad?" 

"You  bet  your  American  word  of 
honor,"  was  the  obviously  prejudiced 
reply. 

"Got  a  nice  mamma?"  pursued  Mr. 
Bloom,  who  was  a  conversationalist 
who  always  kept  in  practice. 

"Y«s,  sir,"  said  the  boy,  "but  I'm 
sorry  to  have  to  say  that  she  isn't  very 
well." 

"She'll  get  well,"  was  Mr.  Bloom's 
comforting  assurance.  "Either  you  get 
well  or  you  die.  She  ain't  going  to  die, 
so  she  must  be  going  to  get  well." 

"She's  pretty  sick,"  said  the  boy, 
seriously.  "Of  course,  she  doesn't 
know  just  how  sick  she  is.  She  thinks 
she'll  be  well  before  spring,  but  dad 
and  the  doctor  and  I  know  better." 

"She  probably  knows  more  than 
you,"  contended  Mr.  Bloom.  "Any- 


najywooi  Screen  land  c^a™* 


21 


the  Villain" 

WEADOCK 

EVERETT  W  YNN 

way,  she  knows  more  than  Jhe  doctor. 
I  can't  see  that  you  and  your  dad 
know  so  much  either." 

"We  take  care  of  mamma,"  said 
the  boy  simply. 

"What's  your  name?"  inquired  Mr. 
Bloom,  who  was  afraid  that  in  trying 
to  comfort  the  boy  he  had  hurt  his 
feelings. 

"Crawford  Kendall,  Junior,"  his 
guest  answered  with  a  touch  of  pride. 

"I'm  pleased  to  meet  you,"  Mr. 
Bloom  said  and  extended  a  cushiony 
hand.  "I  know  your  father.  He 
writes  scenarios  for  me.  My  name  is 
Bloom." 

"I've  heard  my  father  speak  of 
you,"  the  boy  told  him,  as  they  shook 
hands.  "He  likes  you.  You  own  all 
this,  don't  you  ?  I  mean  all  this  studio 
and  Ptomaine  Hall  and  the  rest  of  it." 

The  manager,  with  Mr.  Bloom's 
bread  arid  milk,  had  reached  the 
table  just  in  time  to  do  a  little  eaves- 
dropping. 

"  "What  would  the  little  boy  like  to 
eat?"  he  asked. 


"Nothing,  thank  you,"  said  the  boy, 
who,  evidently  unaware  that  Ptomaine 
Hall  was  not  the  official  name  of  the 
establishment,  turned  back  to  Mr. 
Bloom. 

"You  and  my  dad  ought  to  be 
good  friends,"  he  said  gravely.  "My 
dad  says  you're  a  square  guy.  Did 
you  ever  get  a  medal  for  being  a 
square  guy?" 

Mr.  Bloom  shook  his  head  regret- 
fully. 

"My  dad  did,"  announced  the 
youngster.  "It  was  when  we  lived  in 
Chicago." 

"Did  you  say  he  got  a  medal  for 
being  a  square  guy  or  a  brave  guy?" 
asked  Mr.  Bloom. 

"Square,"  was  the  serious  answer. 
"Of  course,  he's  brave,  but  he  hasn't 
got  a  medal  for  that  yet.  But  when 
we  left  Chicago  to  come  out  here, 
because  mamma  .  was  sick,  a  lot  of 
people  gave  dad  a  banquet  and  a 
medal,  saying:  'To  Crawford  Kendall, 
a  square  man,  June  10,  1922.'  " 

1(How  long  did  he  live  in  Chicago  ?" 
asked  the  cautious  Mr.  Bloom. 

"All  his  life,"  answered  the  boy. 

His  host,  finishing  his  bread  and 
milk  in  silence,  called  the  manager 
when  he  was  through. 

"This  is  my  friend  Crawford  Ken- 
dall, Jr.,"  he  said,  gravely;  "he's  go- 
ing to  wait  here  for  his  father,  and  if 
he  wants  anything,  you  give  it  to 
him." 


With  his  left  hand  he  reached  for 
his  hat ;  with  his  right  he  shook  hands 
with  his  new  friend. 

"I'll  find  your  father  and  send  him 
over,"  he  promised,  and  left  him. 

Walking  slowly  back  to  his  office, 
he  talked  to  himself,  as  was  his  cus- 
tom when  he  was  troubled  in  his  mind. 
What  he  said  to  himself  was : 

"I  wonder  how  those  fellers  in  Chi- 
cago ever  come  to  give  a  medal  to  a 
thief." 

He  walked  into  his  office  with  his 
head  down  and  his  eyes  upon  the 
carpet. 

"Abie,  did  you  lose  something?" 
gently  inquired  a  feminine  voice  with 
whose  cadences  twenty-four  years  of 
married  life  had  made  Mr.  Bloom 
familiar. 

"Well,  if  it  ain't  Mamma !"  he  cried 
in  glad  surprise  as  he  came  to  a  stand- 
still just  inside  the  door.  "And  ain't 
she  stylish  in  her  new  dress  and  her 
new  hat  and  everything?" 

The  large  and  placid  lady,  who  filled  / 
to  overflowing  the  swivel  chair  at  the 
presidential  desk,  received  this  tribute/ 
modestly. 

"Abie,"  she  said,  "this  is  my  old 
gray  taffeta  that  the  dressmaker  made 
it  new  for  me,  and  the  feathers  on  the 
hat  is  the  feathers  I  had  dyed  and 
packed  away.  Otherwise  everything 
is  brand  new." 

"And  everything  is  A  first  class 
number  one,"  said  her  husband,  re- 
treating from  the  dangerous  ground 
of  particulars  to  the  firmer  footing  of 
generalities. 

"If  it  wasn't,  I  wouldn't  wear  it," 
was  Mrs.  Bloom's  complacent  reply. 

She  accompanied  it  with  a  large  ges- 
ture of  her  heavily-beaded  bag,  a  ges- 
ture that  indicated  that  she  thought  it 
was  time  to  change  the  subject.  Mr. 
Bloom  was  not  altogether  surprised 
when  his  wife  turned  her  attention  to 
him. 

"How  comes  it  you  walk  into  your 
own  office  looking  like  a  feller  that's 
ashamed  of  something?"  she  asked. 
"What  you  been  doing  now  ?" 

"Who?  Me?"  parried  the  uneasy 
Mr.  Bloom. 

"You,"  she  said,  regarding  him  with 
disconcerting  intentness.  "You  ain't 
been  firing  any  of  the  hands,  have 
you?  Whenever  you  fire  anybody, 
you  look  like  you  lost  your  friend." 

"I  ain't  fired  anybody  yet,"  he  said, 
forcing  himself  to  meet  her  gaze. 
"However,  that  ain't  saying  that  I 
ain't  going  to  fire  nobody-  " 

"So  many  times  it  thunders  when 
it  don't  rain,"  she  said,  her  relief 
showing  in  her  softened  eyes,  "but  I 
didn't  come  here  to  scold  you.  I  come 
so  that  you  can  do  me  a  favor." 

"I'll  do  it  as  soon  as  I  telephone  a 
minute,"  he  assured  her,  and  reached 


22 


Mir-**  SCREEtfLAKD  Cdifi™»» 


for  his  desk  telephone.  "Don't  you 
want  I  should  give  you  a  little  kiss?" 

"Why,  Mr.  Bloom !"  protested  the 
telephone  operator  who,  at  her  switch- 
board down  the  hall,  received  this 
proposal. 

"I  don't  want  to  kiss  you,  Ruth," 
he  explained  hurriedly ;  "my  wife  is 
here.  What  I  want  you  to  do  is  to 
locate  Mr.  Kendall  and  tell  him  his 
little  boy  is  waiting  for  him  over  in 
the  cafeteria." 

He  sat  down  the  telephone  and 
turned  inquiringly  to  his  wife. 

"You  can  give  me  a  little  kiss  if 
you  want  to,"  she  said  graciously; 
"then  we'll  talk  about  the  favor.  It's 
about  Mr.  Kendall." 

Mr.  Bloom,  who  had  stooped  that 
he  might  take  advantage  of  his  wife's 
generous  offer,  straightened  suddenly. 

"Oh,  well,"  said  his  wife,  philo- 
sophically, "one  kiss  more  or  less  don't 
make  so  much  difference  " 

"It  does  to  me,"  he  assured  her 
hastily  and  kissed  her. 

"Abie,"  she  said,  "I  ain't  exactly 
comfortable." 

"Get  up  and  take  this  one,"  he  sug- 
gested, drawing  toward  her  a  chair 
more  substantial  than  the  swivel  chair 
in  which  she  sat.  "The  first  thing  you 
know  you'll  fall  out  of  that  merry-go- 
around." 

Not  until  she  had  transferred  her- 
self to  the  other  chair  did  she  speak. 

"I  mean  I  ain't  exactly  comfortable 
in  my  mind,"  she  told  him  then ;  "I 
don't  think  you  pay  Mr.  Kendall 
enough  wages  -" 

"You  don't  think!"  he  burst  out 
hotly;  then  had  the  good  fortune  to 
remember  to  whom  he  was  addressing 
himself:  "Go  on  and  have  your  say. 
Then  I'll  talk,"  he  added  in  much 
milder  accents. 

His  wife  stroked  his  arm. 

"You  fly  up  for  nothing,"  she 
smiled  indulgently.  "If  you  knew  all 
about  Mr.  Kendall,  you'd  give  him  a 
raise  or  overtime  or  something." 

"I  am  going  to  give  him  something," 
said  Mr.  Bloom  to  himself ;  "I'm  go- 
ing to  give  him  the  gate." 

"Stop  thinking  and  listen  to  me," 
commanded  his  wife :  "I  didn't  know 
till  this  morning  that  Mrs.  Kendall  is 
the  lady  who  is  so  sick  in  that  bunga- 
low court  near  the  gas  station." 

"Which  gas  station?"  inquired  Mr. 
Bloom.  "In  Hollywood  there  is  more 
than  one  gas  station." 

"There  is  only  one  Mrs.  Kendall," 
was  the  unperturbed  reply.  "Some  of 
us  members  of  the  Wednesday  After- 
noon Ladies'  Club  got  to  talking  and 
as  soon  as  I  heard  it  was  Mrs.  Ken- 
dall who  is  sick  I  went  right  over." 

"What  did  you  bring  her?"  asked 
Mr.  Bloom,  who  knew  his  wife. 

"Nothing,"  said  Mrs.  Bloom; 
"nothing  except  some  of  my  home- 


made apricot  preserves  with  a  little 
pineapple  in  it,  the  kind  that  you're 
always  eating  too  much  of,  and  some 
of  my  home-made  strawberries,  the 
kind  that  stays  red  in  the  jar,  and  " 

"All  right,"  he  said  hastily.  "And 
what  did  you  find?" 

"I  found  a  very  sick  lady.  She 
should  be  out  on  the  desert  or  up  in 
the  mountains.  And  she  should  have 
a  better  doctor.  Of  course  she  thinks 
she's  going  to  get  well  right  away,  but 
you  know  them  cases,  Abie.  They 
don't  get  well  unless  they  get  the  best 
of  care.  Now,  what  I  want  you  to  do 
is  to  raise  Mr.  Kendall's  wages  so  he 
can  give  it  to  her." 

"Mamma,"  said  Mr.  Bloom,  getting 
slowly  to  his  feet  and  biting  his  lip 
to  nerve  himself  for  the  task  that  con- 
fronted him;  "Mamma,  do  you  know 
what  it  is  rushes?" 

"It's  got  something  to  do  with  the 
fillums,"  she  guessed. 

"It's  got  lots  to  do  with  the  fillums," 
he  told  her.  "The  rushes  is  the  stuff 
we  shoot  yesterday  and  look  at  today. 
It  shows  us  how  the  picture  is  coming 
along  " 

"I  should  think  you  could  tell  that 
by  looking  at  the  picture,"  she  said. 
"Now  about  Mr.  Kendall  " 

"Rushes  is  part  of  the  picture,"  said 
Mr.  Bloom.  "Now  if  you'll  come  with 
me  and  look  at  the  rushes  you'll  know 
why  I  ain't  going  to  give  Mr.  Kendall 
any  more  money,  any  more  money  at 
all." 

"I'll  go  with  you  and  look  at  any- 
thing you  want  to  show  me,"  she  said, 
rising;  "but  that  don't  mean  that  you 
ain't  going  to  give  Mr.  Kendall  some 
more  money  and  give  it  to  him  right 
away." 

"When  you  see  what  I've  got  to 
show  you,  you'll  agree  with  me,"  he  said 
confidently  as  he  hurried  to  the  door. 

"I'll  agree  with  you,"  said  his  wife, 
amiably,  as  she  followed  at  a  more 
leisurely  pace ;  "I'll  agree  with  you  if 
you'll  agree  with  me." 

Their  destination  was  the  pro- 
jection room,  a  long,  narrow,  win- 
dowless  shed  that  sprawled  beside 
Stage  No.  2,  which  was  a  towering 
structure  of  glass  and  canvas.  It  was 
the  only  stage  Mr.  Bloom  owned  and 
why  he  should  have  named  it  Stage 
No.  2  was  as  much  a  mystery  as  why 
he  should  have  numbered  his  two  stu- 
dio cars  Nos.  26  and  27. 

Nearing  the  stage,  he  was  several 
lengths  in  the  lead,  but  his  wife,  puff- 
ing along  in  his  wake,  brought  him  to 
a  halt  by  hailing  him  in  a  voice  which 
he  knew  better  than  to  disregard. 

"You  say  you  can't  afford  to  raise 
Mr.  Kendall's  pay,"  she  said,  re- 
proachfully, as  she  came  up  to  him; 
"but  I  see  you  got  two  cameras  on 
that   stage  ,  number   two,   and  the 


amount  of  electric  light  you  burn  here 
in  the  day  time  is  positively  disgrace- 
ful." 

"I  can't  make  pictures  without  elec- 
tric light,"  he  said  patiently,  "and  them 
cameras  is  one  for  the  American  neg- 
ative and  one  for  the  foreign  negative, 
and  " 

"Never  mind,"  she  interrupted; 
"why  don't  you  make  your  pictures 
like  you  used  to  when  you  first  begun 
to  make  pictures — all  outdoors?" 

"It  ain't  art,"  he  said,  as  condes- 
cendingly as  he  dared.  "Five  years 
ago  I  couldn't  afford  to  have  lots  of 
classy  interiors  " 

"Five  years  ago  you  were  getting 
more  interest  on  your  investment," 
she  told  him. 

"Aw,  come  on,  Mamma,"  he  plead- 
ed, taking  her  hand.  (  "You  know 
many  times  you've  told  me  it  ain't 
polite  to  argue  ih  public.  Come  with 
me  and  I'll  hand  you  the  convincer." 

She  permitted  herself  to  be  led  into 
the  long,  bare  projection  room  and 
handed  to  one  of  a  dozen  or  more 
theatre  seats  which  were  banked  on  a 
low  platform  at  one  end.  There  she 
sat  and  looked  down  the  length  of  the 
room  to  the  white  sheet  which  covered 
the  wall  at  the  farther  end. 

"More  light  being  wasted,"  she 
sniffed,  as  her  eyes  traveled  from  a 
cluster  of  lights  that  were  set  in  the 
low  ceiling  to  more  light  which  drifted 
in  through  a  slit  in  the  wall  behind 
her  and  above  her. 

"Make  yourself  at  home,  Mamma," 
said  Mr.  Bloom;  "I'll  be  back  in  a 
minute.   I  got  to  tell  Bill  something." 

He  was  back  in  less  than  a  minute. 
Indeed,  he  had  not  really  gone  away, 
but  standing  upon  one  of  the  seats  in 
the  top  row  had  engaged  in  a  whisper- 
ing conversation  with  some  unseen 
functionary  whose  voice,  at  intervals 
in  Mr.  Bloom's  earnest  conversation, 
was  audible  in  the  lighted  booth  that 
overlooked  the  projection  room. 

"I  can't  hear  you,"  said  Mr.  Bloom, 
with  a  trace  of  annoyance ;  "talk 
louder." 

"Who's  the  chicken?"  asked  in  a 
hoarse  whisper  the  man  in  the  booth. 

"It  ain't  a  chicken,"  was  Mr. 
Bloom's  horrified  response;  "it's  my 
wife." 

"Oh!"  said  a  deeply  disappointed 
voice  from  above. 

"Abie,"  inquired  Mrs.  Bloom,  "did 
you  come  in  here  to  show  me  some- 
thing or  did  you  come  in  here  to  gibble 
gabble?" 

"We  are  ready  to  go  ahead,"  he 
answered  in  his  best  dignified  manner. 
"Bill,  you  can  let  'er  flicker." 

The  lights  in  the  ceiling  went  out 
and  a  red  light  glowed  in  the  darkness 
at  the  farther  end  of  the  room. 

"What's  the  danger?"  asked  Mrs. 
Bloom. 


Hoiiy  wool  Screen  land  c»u£*»i* 


"Tsst !"  hissed  her  husband ;  "it's  a 
signal.  It  shows  Bill  is  ready  to  run  the 
fillum.  Now,  with  a  push  button  here, 
I  signal  back  that  he  can  go  ahead 
and  run  it.  You  can't  see  the  push 
button.   It's  over  here  in  the  dark." 

"The  push  button  ain't  all  I  can't 
see,"  remarked,  with  a  shade  of  asper- 
ity, the  impatient  Mrs.  Bloom;  "I 
can't  see  what's  the  use  of  wasting 
money  on  push  buttons.  Why  don't 
you  just  yell  at  him?" 

"It  wouldn't  do  at  all,"  contended 
her  husband;  "in  the  movies  you  got 
to  have  a  system  in  everything.  You 
got  to  " 

"You  don't  got  to  sit  there  all  after- 
noon without  pushing  the  button,"  she 
remonstrated.  "If  this  is  the  way  you 
spend  your  time,  I  can  put  a  red  bulb 
in  the  clothes  closet  at  home  and  you 
can  go  in  and  shut  the  door  and  not 
have  to  go  to  the  studio  at  all.  I 


"You  can  please  give  me  a  chance 
to  show  you  you  are  all  wrong,"  said 
Mr.  Bloom,  loftily.  "Wait  till  I  find 
this  here  push  button." 

His  wife  raised  her  voice  in  a  tone 
of  command. 

"Mr.  Bill,  up  there,"  she  said,  ad- 
dressing herself  to  the  rear  wall, 
"whatever  you  are  going  to  do,  do  it. 
This  is  Mrs.  Bloom  speaking." 

"Let  'er  flicker,"  repeated  Mr. 
Bloom,  ignoring  the  fact  that  already 
Bill  had  started  his  projecti on  machine. 

"She's  flickering,"  commented  Mrs. 
Bloom,  in  bitter  tones ;  "she's  flicker- 
ing so  bad  I  can't  make  no  sense  out 
of  the  fillum." 

"Frame  !"  shouted  Mr.  Bloom,  and 
the  film  began  to  run  more  smoothly. 

"You  should  have  music,"  observed 
Mrs.  Bloom;  "you  wouldn't  believe 
how  much  help  music  is  to  pictures, 
especially  to  punk  ones." 

"This  picture  ain't  a  punk  one," 
sputtered  her  indignant  husband.  "You 
were  saying  why  don't  I  make  pic- 
tures like  I  made  five  years  ago.  Well, 
this  is  a  picture  I  made  five  years  ago. 
If  you  look  at  it  and  not  talk  so  much, 
you'll  see  it." 

"You  ain't  got  one  of  Dave  Grif- 
fith's pictures,'  handy,  have  you, 
Abie  ?"  she  asked,  stifling  a  yawn. 

"No,  and  I  ain't  got  Sousa's  band," 
he  retorted;  "all  I  got  here  is  a  pic- 
ture that  if  you  will  do  me  the  favor 
to  pay  attention  to  it,  will  show  you 
that  this  feller  Kendall  is  a  low  life." 

"My,  ain't  the  styles  changed  in 
five  years?"  Mrs.  Bloom  wondered 
audibly. 

"About  the  styles  I  don't  care  noth- 
ing at  all,"  grunted  her  husband;  "I 
want  you  to  watch  close  for  a  situa- 
tion at  the  end  of  this  reel.  I'll  tell 
you  when  we  come  to  it." 

"Tell  me  before/'  she  advised.  "Give 
me  time  to  get  my  eyes  open." 


"Are  you  sitting  there  looking  at  this 
fillum  with  your  eyes  shut  ?"  demand- 
ed Mr.  Bloom. 

"I  look  once  in  a  while." 

"Mamma,  please  look  all  the  time," 
he  begged;  "don't  you  want  me  to 
prove  to  you  that  this  feller  Kendall 
is  a  thief?" 

"No,  I  don't,"  she  answered  stoutly ; 
"I  want  you  to  give  him  more  money. 
Anyway,  looking  at  a  picture  he  ain't 
even  in  don't  prove  he  ever  stole  a 
penrty  " 

"Look!"  cried  her  husband,  excit- 
edly. "Look  there  where  the  old  blind 
man  gets  his  eyesight  back  and 
punches  the  villain." 

"I  see  it,"  said  Mrs.  Bloom  calmly. 
"I  knew  all  the  time  it  was  going  to 
happen."  , 

"Gift  you  Remember  it?"  asked. her 
husband. 

"I  ain't  much  for  remembering  pic- 
tures," she  answered  warily,  "and  I 
don't  see  what  difference  it  makes  if  I 
remember  it  or  not  " 

"It  makes  lots  of  difference,"  he 
told  her.  "Now,  just  shut  your  eyes 
and  don't  look  at  the  rest  of  the  reel. 
Keep  thinking  about  that  blind  man 
getting  his  eyesight  hack  and  punching 
the  villain." 

"I  don't  want  to  shut  my  eyes,"  she 
remonstrated,  stirring  uneasily ;  "this 
picture  is  just  getting  good." 

"Keep  'em  open  then,"  returned  the 
exasperated  man  ;  "the  reel'll  be  over 
in  a  minute  anyway." 

When  it  had  been  run,  he  called 
up  to  the  man  in  the  booth  :  "Put  on 
the  rushes,"  he  said. 

"Don't  bother  on  my  account,"  said 
Mrs.  Bloom,  rising  in  the  darkness. 
"I  appreciated  looking  at  that  picture, 
but  I  can't  stay  here  all  afternoon 
looking  at  pictures.  I  got  to  see  Dr. 
Stein  about  Mrs.  Kendall." 

"Please,  Mamma,  sit  down  again," 
begged  her  husband.  "The  rushes  are 
very  short  and  unless  you  see  them 
you  won't  know  what  I'm  driving  at." 

"Probably  I  won't  know  anyway," 
she  answered.  "I  got  to  go.  Mr.  Bill, 
turn  on  the  light." 

"Bill,  turn  on  the  rushes,"  cried  Mr* 
Bloom. 

"Abie!"  gasped  his  wife,  "are  you 
sick?" 

"I  ain't  sick,"  proclaimed  the  little 
man,  who  found  it  is  easier  to  be  brave 
in  the  dark  than  in  the  light;  "I  ain't 
sick,  but  I  am  purely  and  simply  boss- 
ing my  own  business.  Bill,  hurry  up 
with  them  rushes." 

Again  the  projection  machine  began 
to  buzz ;  again  a  moving  picture  un- 
rolled itself  upon  the  farther  wall. 

"Remember,"  said  Mrs.  Bloom, 
slowly  and  distinctly  in  the  darkness, 
"the  lights  won't  be  out  forever.  Abie, 
just  put  your  mind  on  that." 


"If  you'll  put  your  mind  and  your 
eyes  on  the  rushes,  you  will  see  some- 
thing," announced  the  intrepid  man. 

"When  these  lights  go  on  again, 
you  will  see  something  else,"  re- 
marked Mrs.  Bloom;  "you  will  also 
hear  something  " 

"Watch  the  screen,"  he  advised  in 
a  hoarse  whisper.  "What  you  see  will 
make  you  speechless." 

"Not  the  way  I  feel,  it  won't,"  she 
retorted.  "It's  more  likely  to  make  me 
dizzy.  All  I  can  see  is  the  same  actors 
and  actresses  doing  the  same  thing 
over  and  over  again.  It's  all  mixed 
up.   There  ain't  no  sense  to  it  " 

"Look  now!"  he  exclaimed;  "see 
the  blind  man  getting  his  eyesight  back 
and  punching  the  villain." 

"Suppose  he  is?"  she  asked,  weari- 
ly; "ain't  it  because  your  friend,  Bill, 
has  got4the  fillums  mixed?" 

"Mamma,"  cried  Mr.  Bloom,  "you 
know  better,  but  you  won't  admit  it. 
You  know  that  the  pictures  you  looked 
at  just  before  you  looked  at  this  was 
made  five  years  ago.  I'm  telling  you 
that  the  picture  that  you're  looking  at 
now  was  made  yesterday.  That  one 
scene  of  the  blind  man  getting  his  eye- 
sight back  and  punching  the  villain  is 
in  both  of  them  the  identical,  similar, 
and  the  same  scene.  Different  people, 
but  the  same  scene.  It's  a  scene  I  put 
in  my  picture  five  years  ago  and  now 
along  comes  this  feller,  Kendall,  and 
tries  to  put  it  in  my  picture  again.  It 
is  theft  and  highway  robbery  and — — " 

"His  wife  is  sick,"  said  Mrs.  Bloom/ 
"Abie,  where  are  you  in  the  dark? 
Come  over  here.  I  want  to  lean  on 
you." 

"Don't  cry,  Mamma;  don't  cry," 
he  begged.  "If  you  want  to  fight  with 
me,  fight  with  me,  but  please  don't 
cry.   I  can't  stand  it." 

"Poor  Mrs.  Kendall  was  telling  me 
that  her  husband  comes  home  and 
works  all  night  for  you,"  sniffled  Mrs. 
Bloom.  "The  typewriter  would  keep 
her  awake,  so  he  writes  it  all  out  with 
a  lead  pencil.  Ain't  it  sad,  Abie,  to 
think  of  that  poor  man  with  that  sick 
wife  and  that  little  boy,  that  nice,  lit- 
tle boy,  sitting  there  all  night  writing 
with  a  pencil  ?" 

"With  him  stealing  scenes,  it's  sad 
to  think  of  him  writing  at  all,"  assert- 
ed the  unfeeling  Mr.  Bloom.  "The 
writers'  union  should  get  after  him 
and  I  should  throw  him  off  the  lot." 

"They'll  all  starve,"  she  said,  and 
moved  closer  to  him.  "Abie,  you  ain't 
starved  anybody  yet." 

"I  don't  want  to  starve  anybody 
now,"  protested  the  much-tried  man; 
"maybe,  you  can  tell  me  what  I'd  bet- 
ter say  to  him?" 

"Ain't  you  talked  to  him  yet  about 
it?"  exclaimed  Mrs.  Bloom  in  sur- 
prise. 

(Continued  on  page  56.) 


ruiy-ooA  SCREENIAND  Cui£»i» 


s 

l^yTUDIOLAND !     The   strange  of  board  fences  and  barbed  wire  mond-shaped  panorama  of  the  famous 

border  between  dreams  and  reality,  with  two  entrances,  where  hard-eyed  United  and  R-C  studios,  with  the  one 

That  Yukon  of  the  lip-stick  league  gatemen  yield  to  magic  words  of  the  portal  to  United  hidden  beneath  the 

and  languishing  literati.   Two  miles  employed.    Below  us  it  lies — a  dia-  trees  where  first  base  ought  to  be; 


and  the  lawn-bordered  path  to  the 
R-C  hall  of  mighty  half-way  down  the 
third-base  line. 

The  gaunt  and  sun-seared  debris  of 


a  thousand  sets  hide  behind  the  archi- 
tectural decency  of  stages  and  admin- 
istration buildings;  but  it  is  in  this 
20-acre  back  lot  that  history  of  the 


Photo  by  CROSS,  Aerial  Photographer. 

world  has  been  outlined  on  film  in 
pre-Wellsian  days.  For  you  can  see 
from  here,  500  feet  above  them,  Egyp- 
tian fountains,  Indian  temples,  Chi- 


26 


SCREENLAND  Caii/W* 


nese  pagodas,  mid- Victorian  house- 
fronts,  western  barrooms,  Downing 
Streets,  Wall  Streets,  Main  Streets — 
a  conglomeration  of  mad  disarray  that 
faithfully  has  served  the  great  Ameri- 
can box-office  and  waits  to  serve  it 
still. 

When  Tessie  comes  to  Hollywood 
to  break  into  the  movies,  it  takes  her 
weeks  to  get  from  the  casting-office 
bench  to  the  sets  of  this  back  lot.  On 
the  first  day  she  shows  her  photo- 
graphs to  a  sphinx  who  governs  dra- 
matic destinies  from  a  little  wicker 
window  at  the  top  of  a  flight  of  steps 
that  leads  from  the  sidewalk.  Then 
Tessie  begins  her  fight  for  recognition. 
Friendless — unless  she  chooses  to  be 
too  friendly — Tessie  begins  the  strug- 
gle toward  stardom  through  the  social 
stratiform  of  the  studio. 

Tessie  knows  that  Constance  Tal- 
madge,  Jackie  Coogan,  Ruth  Rolahd, 
Owen  Moore,  Guy  Bates  Post,  Elaine 
Hammerstein  and  a  group  of  all-star 
companies  are  working  on  the  United 
lot.  In  a  month  or  two,  if  she  is  am- 
bitious and  persistent,  stratagem  may 
land  her  as  extra  in  one  of  their  pic- 
tures for  a  day  or  a  week. 

At  the  R-C  gate,  she  hopes  that 
Harry  Carey,  the  Carter  de  Havens, 
Ethel  Clayton,  Helen  Jerome  Eddy, 
Frankie  Lee,  Jane  Novak,  Gloria  Joy 
or  one  of  several  other  stars  or  troupes 
are  about  to  begin  a  new  picture.  Movie 
companies,  the  extra  soon  learns,  are 
often  "between  productions."  Too 
many  betweens  will  mean  trouble  for 
Tessie — one-meal  days,  darned  heels 
and  insinuating  postscripts  scrawled 
on  the  rent  bill. 


ThIS  studio  group  is  one  of  the 
largest  in  Hollywood — which  means, 
of  course,  in  the  world.  Miles  of  the 
best  photoplays  are  produced  here 
every  year.  Think  of  the  thousands 
of  thrilling  feet  that  are  cranked  on 
that  crooked  little  street  in  the  cen- 
ter. It  is  easy  to  guess  why  the 
street  is  zig-zagged,  isn't  it  ?  So  three 
or  four  companies  may  work  on  it  at 
the  same  time.  Some  day,  when  a 
cameraman  squints  through  his  finder 
in  the  background  of  a  Kaffir  village 
missionary  barbecue  thaj:  comes  to 
your  theatre,  you  will  understand. 
Some  careless  producer  has  built  a 
straight  street  on  his  back  lot. 

The  gravel  driveways  that  squirm 
in  erratic  cycloids  in  the  upper  left 
of  the  picture  would  be  ideal  lovers' 
lanes,  except  that  they  are  not  a  part 


of  the  studios.  That  is  a  cemetery.  It 
is  never  used  in  pictures.  Professional 
superstition  forbids  the  use  of  grave- 
yards for  atmosphere  —  even  in 
comedies. 

For  big,  broad  sweeps  of  landscape, 
which  are  required  in  so  many  photo- 
plays, companies  leave  the  lots  and  go 
on  location— shore,  mountains  or  des- 
ert. There  is  a  heart-rending  story 
about  a  director  who  took  his  cast  out 
on  the  desert  last  month  for  "western 
stuff."  Next  day  a  telegram  reached 
the  studio  manager. 

"Taking  next  train  home,"  the  tele- 
gram read;  "we  have  better  western 
atmosphere  on  the  back  lot!" 

SlNCE  quality  in  a  dramatic  pro- 
duction is  habitually  fudged  by  the 
amount  of  money  it  costs,  many 
directors  believe  that  the  farther  they 
travel  for  atmosphere,  the  better  the 
picture.  Some  of  them  have  a  con- 
tempt for  the  accustomed  habitats  of 
the  tripod.  In  the  old  days  (1910-15) 
a  Sennett  troupe  would  start  shooting 
at  one  end  of  an  alley  and  when  they 
reached  the  other  end  would  have  a 
finished  Keystone  comedy.  Now,  the 
better  the  director,  the  longer  his  loca- 
tion trips. 

But  it  is  disrespectful  to  talk  about 
impolite  things  like  comedy  when  vis- 
iting United  and  R-C,  the  abode  of 
serious  drama.  Yet,  on  this  spacious 
back  lot  we  find  a  species  of  that 
strange  creature  to  which  still  clings 
his  old  comedy  name — the  gag  man. 

The  gag  man  hangs  around  the  set, 
all  day,  every  day.  He  knows  more 
than  the  director  and  sometimes  drops 
hints  of  this  sort  in  the  form  of  ideas 
and  suggestions.  The  director  either 
ignores  or  ridicules  them,  and  the  next 
day  makes  re-takes  to  contain  them. 

"Every  laugh  is  worth  a  thousand 
bucks,"  is  a  saying  on  the  comedy  lots. 
In  serious  drama,  a  good  situation  or 
improved  development  of  a  situation 
("building  it  up"  is  studio  parlance 
for  the  trick)  is  worth  even  more.  So, 
you  see,  the  gag  man  is  a  paying  in- 
vestment. Besides,  enough  of  them 
keep  down  the  grass  in  the  back  lot. 

That  cluster  of  cottages  in  the 
right  part  of  the  diamond  is  mostly 
stars'  dressing  rooms.  Mary  Pick- 
ford,  until  recently,  occupied  one  of 
them.  (Now,  as  you  know,  Mary 
and  Doug  have  a  fine  new.  studio  of 
their  own.), These  little  studio  cottages 


are  surrounded  by  luxuriant  gardens 
and  the  labyrinthean  play-streets  that 
squeeze  among  them  bewilder  the 
visiting  stranger. 

We  almost  forgot  to  mention  that 
the  United  Studio  has  a  publicity  man- 
ager. No  ethical  movie  organization 
is  complete  without  a  publicity  man- 
ager. The  star  has  a  personal  pub- 
licity representative;  then  there  is  a 
company  publicity  man;  more  writer- 
ups  are  hired  by  the  releasing  concern. 
Then,  on  top  of  it  all,  here  at  United, 
the  studio  itself  has  its  own  personal 
publicity  representative.  We  don't 
remember  whether  the  publicity  repre- 
sentative has  a  publicity  representa- 
tive, or  not. 

At  R-C  and  United,  there  are  enough 
publicity  men,  of  various  sorts,  to 
completely  fill,  three  deep  and  tamped 
in,  that  fine  big  laboratory  in  the  lower 
right  of  our  view.  But  they  are  sel- 
dom captivated  in  such  elegant  quar- 
ters. The  publicity  man  usually  occu- 
pies a  small  alcove  or  a  dusty  lair 
close  by  the  production  manager's  of- 
fice. To  function,  all  he  needs  is  a 
typewriter  and  a  desk  with  two 
drawers — one  for  copy  paper,  the 
other  for  clinking  entertainment  equip- 
ment. It  is  the  asserted  custom — at 
some  studios  here  and  there — to  stupe- 
fy visiting  interviewers  with  hospital- 
ity—when it  can  be  had.  Then,  when 
the  interviewer  starts  away,  walking 
sidewise  and  talking  backward,  he  has 
become  convinced  (and  correctly  so) 
that  he  has  seen  fully  three  stars. 

Notice  the  artistic  young  build- 
ing with  an  acre  of  lawn  in  front. 
It  is  the  main  thinking  laboratory 
of  the  R-C  units.  It  also  holds  the 
company  dining-room. 

It  is  a  delightful  custom  at  this 
place  to  entertain  guests  at  mealtime 
with  executives,  stars,  players — just 
like  one  of  them.  The  atmosphere  is 
appealing  and  homey  and  the  next 
time  you  come  to  Hollywood  just  drop 
in  at  noon  and  see  your  favorite  ham 
and  eggs. 

But  let  us  not  tarry  aloft  until  we 
have  drained  the  gas  tank.  This  jour- 
ney over  the  United-R-C  spawn-beds 
of  screen  drama  is  now  at  an  end.  If 
we  get  back  to  the  flying  field  safely, 
we  will  take  another  trip  next  month. 
Where  shall  it  be?  Mack  Sennett's? 
All  right — next  month  we  will  look 
over  the  birthplace  of  custard  pie 
comedy  and  cast  our  shadows  on  its 
hallowed  ground. 

Home>  James. 


SCREENLAND  (Mi&fi* 


27 


EMMBHBHHHHBH 


°fthA  /tars! 


By  PATRICK  TARSNEY 


5  These  "easy  to  remember"  anecdotes  or  screen 
actresses  comprise  trie  second  of  a  compelling 
series  about  the  private  lives  of  film  celebrities. 
Next  month,  Patrick  Tarsney  will  tell  some 
secrets  about  authors;  then  directors. 

«  Florence  Vidor  first  entered  Los  Angeles  in  a 
Ford,  which  she  and  her  husband,  King  Vidor, 
had  driven  across  the  desert  from  Texas.  In 
those  days,  the  Ford  and  the  family  shotgun 
were  all  the  earthly  treasures  of  the  beauteous 
Florence.  She  sold  the  shotgun  to  buy  food, 
then  became  an  extra  in  the  movies. 


D. 


O  YOU  KNOW  that  Griffin 
avenue  in  Los  Angeles  is  named  in 
honor  of  Bebe  Daniels'  grandfather? 
Well,  it  is.    This  grandfather  was 
an  engineer  who  not  only  laid  out 
a  large  part  of  Los  Angeles,  but 
who  also  went  to  South  America 
and  laid  out  a  large  part  of  Colom- 
bia as  well.    He  married  one  of  the 
most  beautiful  women  in  that  southern 
republic.    Talk  about  heredity.  I 
have  seen  a  portrait  of  Bebe's  grand- 
mother, made  in  the  days  of  her  youth, 
and  it  looks  exactly  like  a  portrait  of 
the  alluring  Bebe. 

Do  you  know  that  it  was  through 
Griffin  avenue  that  Florence  Vidor, 
who,  like  Bebe,  was  born  in  Texas, 
first  entered  Los  Angeles  in  a  Ford 
which  she  and  her  husband  had  driven 
across  the  desert  and  that  in  those 
days  the  Ford  and  the  husband  and 
the  family  shotgun  comprised  all  of 
the  earthly  treasures  of  the  beauteous 
Florence?  And  that  she  sold  the  shot- 
gun to  buy  food?    That  was  before 
she  became  an  extra  and  rode  into 
recognition  in  the  tumbril  in  which 
Bill  Farnum  rode  to  the  guillotine  in 
A  Tale  of  Two  Cities. 
.  Do  you  know  that  Betty  Blythe,  of 
whom  we  saw  so  much  in  The  Queen 
of  Sheba,  is  a  graduate  of  the  Uni- 
versity of  Southern  California,  and 
that  she  wouldn't  be  in  pictures  if 
she  had  not  gone  broke  while  studying 


for  grand  opera?  And  do  you  know 
that  Betty  Compson  was  once  a  nurse- 
maid and  sees  no  reason  why  she 
should  be  ashamed  of  the  fact? 

The  moving  pictures  have  certainly 
been  good  to  the  girls. 

THERE'S  Ann  Forrest,  for  in- 
stance—Ann of  the  honeycomb  hair 
and  the  husky  voice.  A  few  years 
ago  she  was  getting  five  dollars  a 
day  on  the  old  Triangle  lot  and  giv- 
ing her  sister  a  musical  education  with 
her  spare  change.  Lately  she  was  re- 
ceived in  audience  by  the  King  of 
Denmark,  yes,  sir,  by  the  same  king 
that  received  Dr.  Cook. 

Her  road  to  success  was  rougher 
than  that  which  was  traveled  by  Doris 
May,  whose  mother,  a  friend  of  C.  B. 
De  Mille  and  Mrs.  De  Mille,  found  it 
easy  to  get  Doris  a  job  understudying 
Mary  Pickford  in  The  Little  Ameri- 

CaH-  ,  ,       •  -Kit 

There  were  plenty  of  rocks  in  Mary  s 
road.  Neither  her  mother,  who  ran  a 
rooming  house  in  Toronto,  where 
Mary  went  on  the  stage  at  the  age  of 
nine,  or  her  father,  who  was  a  purser 
on  a  boat  on  the  Great  Lakes,  knew 
any  influential  producers.  It  was  hard 
pickings  for  little  Gladys  Smith.  But 
her  mother,  who  is  a  steam  engine  in 
skirts,  found  a  way,  and  now  Mary, 
of  whom  Burns  might  have  written 
his  "To  see  her  is  to  love  her,"  is  not 
only  the  world's  most  celebrated  act- 
ress, but  is  a  darn  good  business 
woman  as  well.   Some  more  heredity. 


Portrait  by  MELBOURNE  SPURR. 


Eileen  percy,  who,  although 

she  has  not  been  a  star  as  long  as 
Mary  Pickford,  has  blonde  hair  that 
is  almost  as  pretty,  was  a  Follies  girl, 
while  June  Elvidge,  before  she  became 
a  star,  was  in  a  Winter  Garden  show. 
Flora  Finch,  who  makes  those  awful 
faces  in  comedy,  learned  acting  in  the 
company  of  Ben  Greet,  whose  idol, 
Shakespeare,  would  probably  roll  over 
in  his  grave  in  the  quiet  church  at 
Stratford  -  on  -  Avon    if    he  knew. 
Joseph  Jefferson,  the  finest  comedian 
this  country  has  ever  known,  was 
Daisy  Robinson's  tutor  and  De  Wolf 
Hopper,  America's  tallest  comedian, 
taught  Marguerite  Clark  how  to  laugh 
even  in  a  musical  comedy  and  how  to 
cry  without  the  help  of  glycerine  or 
the  ammonia  bottle. 

Priscilla  Dean  was  carried  on  the 
stage  when  she  was  a  baby,  as  was 
Claire  MacDowell,  whose  tempestuous 
father,  Melbourne  MacDowell,  used 
to  support  Fanny  Davenport.  Mary 
Miles  M inter  is  a  stage  baby,  but,  un- 
like the  Misses  Dean  and  MacDowell, 
she  refuses  to  grow  up.  She  used  to 
be  Juliet  Shelby  and  her  greatest  stage 
success  was  in  The  Littlest  Rebel. 


M/ 


.IaE  MARSH  was  in  short  dresses 
when  she  first  attracted  the  atten- 
tion of  D.  W.  Griffith.  She  had 
come  to  the  studio  to  watch  her 
older  sister  work,  and  off  the  set  was 
giving  a  little  performance  of  her  own 
when  the  hawk  eye  of  the  director  fell 
upon  her.    Helen  Ferguson  was  a 


28 


little  older  when  she  played  hookey 
during  examination  week  in  the  school 
she  was  attending  in  Chicago  and 
went  on  as  an  extra  at  the  old  Essenay 
studio.  Mary  Thurman  and  Lois  Wil- 
son, who  were  school  teachers,  would 
never  have  approved  of  that,  although 
what  some  of  Mary's  pupils  would 
have  thought  of  Mary  had  they  seen 
her  in  the  bathing  costumes  in  which 
she  broke  in  at  the  Sennett  studio 
would  probably  have  squared  the  ac- 
count. 

Wanda  Hawley  was  a  concert  pian- 
ist, and  if  Dagmar  Godowsky  can't 
play  the  piano  its  her  own  fault,  be- 
cause her  father,  Leopold  Godowsky, 
is  one  of  the  finest  pianists  in  the  wide' 
wide  world.   Alice  Lake  was  a  dancer 
and  so  was  Mae  Murray,  although  it 
was  as  the  Nell  Brinkley  girl  in  the 
Follies  that  Mae  first  stepped  into  the 
limelight.    They  did  not  want  her  in 
the  show,  but  she  dressed  as  a  Brink- 
ley  girl,  presented  herself  at  the  thea- 
tre and  looked  so  well  that  they  had 
to  take  her. 

Marion  Davies  was  in  the  Fol- 
lies, and  so  was  Martha  Mansfield, 
and  so  was  Kay  Laurell,   and  so 
was  Jacqueline  Logan.    Mary  Mac- 
Laren  was  in  the  Winter  Garden 
chorus,  and  her  sister,  Katherine  Mac- 
Donald,  was  an  artist's  model.  Vir- 
ginia Brown  Faire  and  Gertrude  Olm- 
stead  might  have  been.   They  had  the 
qualifications,  each  of  them  having 
won  beauty  contests.    Gloria  Swan- 
son  was  a  bathing  girl  and  so  was 
Mabel    Normand.    It  was  easy  for 
Mabel,  for  she  had  been  a  professional 
swimmer  and  an  artist's  model  as 
well. 


ft*rW  SCRBENLAND  CiiG«s. 


B, 


Bftty,Co"tP(on  W  once  a  nursemaid  and  she  sees  no  reason  whv 
she  should  be  ashamed  of  the  fact.  y 


>UT  there  was  nothing  like  that 
in  the  Binney  family.  Constance 
and  Faire  were  educated  in  finishing 
schools  and  Constance  completed  her 
education  in  France  and  went  on  the 
stage  under  the  management  of  Win- 
throp  Ames,  who  is  one  of  the  few 
theatrical  managers  that  has  a  Har- 
vard education. 

Lila  Lee  was  on  the  stage,  but  the 
manager  who  was  her  Christopher  Co- 
lumbus never  sang  Fair  Harvard.  He 
was  Gus  Edwards  and  he  used  to  sing 
songs  like  Are  You  Sincere?   He  put 
Lila  Lee  on  the  vaudeville  stage  un- 
der the  name  Cuddles.  Kathleen  Clif- 
ford was  in  vaudeville  at  the  same 
time,  wearing  boy's  clothes  and  wear- 
ing them  very  well.    But  neither  of 
them  was  a  headliner  at  the  age  of 
four,  and  that  is  what  Ruth  Roland 
was.    She  used  to  be  billed  as  Baby 
Ruth. 

Blanche  Sweet  was  in  Gertrude 
Hoffman's  vaudeville  act  and  Mae 
Busch  had  a  vaudeville  act  of  her 
own.  She  used  to  sing  ballads,  which 
is  something  that  Justine  Johnstone 


could  not  do.  Justine's  genius  was  in 
her  feet  instead  of  her  throat.  She 
ran  a  dance  club  in  New  York. 

TEXAS  GUINAN  was  not  always 
a  wild  and  woolly  two-gun  woman 
in  westerns.    She  used  to  sing  and 
dance  in  musical  comedy.    She  was 
born  in  Texas,  but  the  state  was 
not  named  after  her.    Helene  Chad- 
wick  was  born  in  Chadwick,  N.  Y.,  a 
town  whiqh  was  named  after  her 
grandfather,,  whose  silk  mills  are  still 
there.   She  used  to  pose  for  Harrison 
Fisher.     She  got  into  pictures  be- 
cause a  producer  liked  her  pictures. 
Patsy  Ruth  Miller  got  in  because  a 
director  liked  Patsy.    She  was  on  the 
beach  at  Ocean  Park,  when  this  direc- 
tor told  her  he  could  use  her  in  a 
Doraldina  picture.    It  was  fortunate 
for  her  that  she  was  doing  her  swim- 
ming at  Ocean  Park,  California,  in- 
stead of  at  Ocean  Park,  New  Jersey, 
for  in  the  latter  resort  the  bathing 
suits  are  censored  and  Patsy's  talents 
would  have  been  buried. 

Irene  Rich  was  the  wife  of  an 


officer  in  the  United  States  Army,  and 
so  was  Agnes  Ayres.  Different  of- 
ficers, of  course.  Carmel  Myers  is 
the  daughter  of  the  late  Rabbi  Meyers 
of  Los  Angeles.  Until  Carmel  was 
married  her  mother  always  went  to 
the  studio  with  her. 

Edna  Purviance  did  not  want  to  go 
to  a  studio  at  all.  She  was  studying 
stenography  in  San  Francisco  when 
G.  M.  Anderson,  better  known  as 
Broncho  Billy,  saw  her  and  persuaded 
her  to  ask  Charlie  Chaplin  for  a  job. 
She  did  not  want  the  job.  She  want- 
ed it  so  little  that  even  after  she  got 
it  and  they  told  her  that  she  was  good 
she  cried.  Now  she's  a  member  in 
good  standing  of  the  polo  set. 

Pauline  Frederick  was  a  chorus 
girl  and  so  was  Elsie  Ferguson.  From 
the  chorus  they  rose  to  the  dignity  of 
speaking  parts  on  the  stage  and  then 
rose  higher  to  the  realms  of  screen 
stardom,  where  they  don't  have  to 
speak  at  all.  Enid  Bennett  was  on  the 
stage  in  Australia,  which  is  where  she 
met  Fred  Niblo,  who  is  now  her 
husband. 


LiEATRICE  JOY  was  a  schoolgirl 
in  New  Orleans  before  she  went  into 
pictures,  and  so  was  Mary  Alden, 
but  before  going  into  pictures  Mary 
Alden  was  also  a  sob  sister  on  a  New 
York  newspaper.  She  was  not  only  a 
sob  sister,  but  a  cartoonist  and  a  dra- 
matic critic  before  she  became  the 
leading  woman  in  the  first  five  reeler 
that  D.  W.  Griffith  ever  made.  Who 
now  remembers  The  Battle  of  the 
Sexes. 

Clara  Kimball  Young  is  the  daugh- 
ter of  Edward  Kimball,  who  has  been 
on  the  stage  all  his  life.  She  went  on 
early,  as  did  Lillian  Gish.  In  the 
Flugrath  family  there  are  three  act- 
resses instead  of  two.  Ever  hear  of 
the  Flugraths?  Viola  Dana  is  one  of 
them,  Shirley  Mason  is  another  and 
Edna  Flugrath  is  the  third.  Viola  is 
the  sister  that  had  the  most  success 
on  the  stage.  She  played  in  The 
Poor  Little  Rich  Girl. 

Rubye  de  Remer  was  in  musical 
comedy,  which  probably  accounts  for 
the  final  letter  in  the  good  old  name 
Ruby.  Za  Su  Pitts  sounds  like  a 
musical  comedy  name,  but  is  not.  It 
is  the  comedienne's  real  name.  She 
had  it  in  Parsons,  Kansas,  where  she 
was  born,  and  in  Santa  Cruz,  Califor- 
nia, where  she  lived  before  she  went 
into  pictures  at  Universal  City.  She 
knew  nothing  about  salaries  and  when 
they  asked  her  how  much  she  wanted 
she  said  she  thought  fourteen  dollars 
and  seventy-five  cents  a  week  would 
be  about  right.  She  had  figured  out 
that  it  would  cost  that  much  to  live. 
She  was  right,  but,  as  they  say  in 
Parsons,  "What  with  the  war  and 
everything,"  her  expenses  increased 
and  it  was  not  long  before  she  had  to 
have  five  hundred  dollars  a  week.  She 
got  it.  But  not  at  Universal.  She 
became  a  star. 

AnITA  STEWART  was  a  high 
school  girl  in  Chicago  and  played 
first  in  The  Goddess,  which  picture 
was  being  run  for  the  benefit  of  a 
newspaper.  The  prestige  that  fol- 
lowed made  it  easy  for  her  to  get  a 
real  job.  But  May  McAvoy,  having 
no  prestige,  had  plenty  of  troubles. 

It  was  at  the  mature  age  of  twelve 
that  May  McAvoy,  then  living  in  New 
York,  decided  that  some  day  she 
would  be  a  film  star.  Nobody  wanted 
her  then  and  nobody  wanted  her  for 
some  time  afterward.  She  got  her 
first  chance  with  a  commercial  film, 
which  was  made  to  advertise  sugar. 
In  this  film  was  a  close-up  of  May's 
sweet  face  peering  from  a  barrel  of 
sweet  sugar.  She  borrowed  the  film 
and  tramped  around  the  studios  ex- 
hibiting it,  until  somebody  had  sense 
enough  to  see  that  she  might  be  able 
to  act  without  the  barreU 


Hollywood.  SCREENLAND  CMiG™* 

MaY  ALLISON  did  not  have  to 
lug  her  production  around  with  her. 
She  exhibited  her  dazzling  blond 
beauty  as  Beauty  in  Everywoman,  a 
spectacle  that  ran  for  a  year  at  the 
old  Herald  Square  Theatre  in  New 
York.  The  producers  came  to  see  her. 
She  did  not  have  to  go  to  see  them. 
Even  after  she  started  she  had  easier 
going  than  May.  She  played  good 
parts  at  once,  while  the  persistent 
daughter  of  the  McAvoys  had  to  con- 
tent herself  with  playing  the  stars' 
sisters.  She  played  fourteen  in  a  row 
before  she  had  some  other  girl  play- 
ing her  sister. 

But  Alia  Nazimova  had  hard  luck 
that  beats  that.  She  was  born  in 
Odessa  and  when  she  came  to  this 
country  to  appear  at  the  Yiddish  The- 
atre in  New  York  she  knew  no  Eng- 
lish. She  learned  English  and  played 
in  it.  Then  she  found  she  could  do 
better  in  pictures,  and  now  all  the 
English  she  learned  is  a  dead  loss  so 
far  as  the  screen  is  concerned.  Now 
she  earns  more  money  in  a  week  than 
she  used  to  earn  in  a  year.  How 
much  could  she  have  earned  if  she 
had  not  taken  all  that  time  from  her 
acting  to  learn  a  language  she  does  not 
have  to  use? 

But  then  Mildred  Harris  probably 
learned  a  lot  in  school  that  she's  never 
been  able  to  use  in  pictures.  Probably. 
And  Marjorie  Daw  is  another  school 
girl  who  became  a  moving-picture  act- 
ress. Geraldine  Farrar  gave  her  her 
start. 

Mary  Mclvor,  now  the  wife  of 
Bill  Desmond,  the  western  star,  is  an- 
other. She  went  direct  from  the  Hol- 
lywood High  School  into  pictures. 

MaRIE  PREVOST  was  a  bath- 
ing girl  whom  nothing  could  dis- 
may and  now  that  she  is  starring  in 
society  dramas  she  enters  ballrooms 
with  no  more  uneasiness  than  she  used 
to  jump  into  tanks.  Madge  Bellamy, 
who  would  be  a  delectable  bathing 
girl,  has  no  bathing  suits  in  her  past. 
There  aren't  many  beaches  in  Texas 
where  she  comes  from  and  where  her 
father  was  a  college  professor.  Madge 
used  to  be  on  the  stage,  but  it  was  not 
until  she.  went  into  pictures  that  her 
father  and  mother  left  Texas  and 
came  to  live  in  Los  Angeles. 

Girls  who  are  anxious  to  go  into 
pictures  could  do  worse  than  to  pro- 
vide themselves  with  mothers  who  are 
theatrical  costumers.  Katherine  Lewis 
took  this  precaution.  Her  mother 
runs  in  Hollywood  a  shop  where  she 
sells  and  rents  costumes  to  actresses. 
Katherine,  who  in  all  probability  gets 
a  family  discount,  arrays  herself  like 
the  lilies  and  is  seldom  without  a 
job. 


29 

ALICE  BRADY  is  another  girl 
who  has  been  fortunate  in  her  par- 
ents. Her  father  is  William  A. 
Brady,  the  theatrical  manager.  When 
his  daughter  completed  her  education 
in  a  convent  in  New  Jersey  she  went 
to  Boston  and  studied  for  grand 
opera.  She  sang  and  danced  in  The 
Balkan  Princess,  which  was  opera  of 
the  light  rather  than  the  grand  variety, 
and  then  went  into  pictures. 

Yet  Louise  Lovely  has  done  pretty 
well  without  having  family  influence. 
Her  real  name  is  Louise  Carbasse  and 
her  mother  ran  a  boarding  house  in 
Sydney,  Australia.  Louise  went  on 
the  stage  when  she  was  a  youngster. 
It  was  while  playing  at  Pantages'  vau- 
deville theatre  in  Los  Angeles  that 
she  went  out  to  Universal  City  and  got 
herself  a  job  as  leading  woman  for 
Digby  Bell.  She  then  became  a  star 
with' the  Bluebird  productions.  The 
Bluebird  for  happiness.  Mrs.  Car- 
basse was  so  happy  that  she  crossed 
the  Pacific  to  see  her  daughter  at 
work. 

Juanita  Hansen  worked  in  a  mil- 
linery shop  in  Los  Angeles  before  she 
went  into  pictures,  and  Doris  Pawn 
was  educated  in  a  business  college. 
Pearl  White,  who  was  born  in  Mis- 
souri, told  a  theatrical  manager  that 
she  knew  she  would  be  a  good  actress. 
He  asked  her  to  prove  it.  She  recited 
Hamlet's  soliloquy.  He  gave  her  a 
job,  but  he  never  again  asked  her  to 
recite  the  soliloquy.  Gladys  Walton 
,  was  a  schoolgirl  who  got  into  pictures 
without  having  to  recite  anything. 
Mary  Philbin  got  in  by  winning  a 
beauty  contest  and  so  also  did  Corliss 
Palmer. 

Elaine  hammerstein  did 

not  have  to  win  any  contests.  Her 
grandfather  was  the  celebrated  ope- 
ratic impressario,  builder  and  cigar 
maker,  Oscar  Hammerstein,  and  her 
father  was  also  a  theatrical  man. 
Ruth  Stonehouse  was  a  professional 
dancer  and  Colleen  Moore  intended  to 
become  a  professional  musician.  She 
had  enrolled  in  a  school  of  music  in 
New  York,  when  in  Chicago  she  met 
D.  W.  Griffith,  who  convinced  her 
that  she  should  become  an  actress. 
But  Ormi  Hawley  did  not  meet  any- 
body that  told  the  same  thing  to  her 
until  after  she  had  been  graduated 
from  the  New  England  Conservatory 
of  Music.  Then  she  listened  to  them 
and  went  into  dramatic  stock,  which 
was  the  school  in  which  Dorothy  Dal- 
ton  got  her  training.  Olive  Tell  went 
to  a  dramatic  school  in  New  York, 
where  one  of  her  classmates  was 
Douglas  MacLean. 

Norma  Talmadge  did  not  go  to  any 
dramatic  school.    She  did  not  go  to 
any  school  very  long^  for  she  was  only 
(Continued  on  page  6$) 


30 


JUJywooA  SCREENLAND  Gm£ 


y  Trip  Abroad 


Cfcarlic  Cftaplin'5  Own  Remarkable  Story 


HE  hotel  next  day  is  teeming 
with  activity.  My  secretaries  are 
immersed  in  mail  and,  despite  the 
assistance  of  six  girls  whom  they 
have  added  temporarily  to  our  forces, 
the  mailbags  are  piling  up  and  keep- 
ing ahead  of  us. 

In  a  fit  of  generosity  or  ennui  or 
something,  I  pitch  in  and  help.  It 
seems  to  be  the  most  interesting  thing 
I  have  attempted  on  the  trip.  Why 
didn't  I  think  of  it  sooner?    Here  is 
drama.    Here  is  life  in  abundance. 
Each  letter  I  read  brings  forth  new 
settings,  new  characters,  new  prob- 
lems.  I  find  myself  picking  out  many 
letters  asking  for  charity.   I  lay  these 
aside. 

I  have  made  up  my  mind  to  go  to 
France  immediately. 

I  call  Carl  Robinson.  I  tell  him 
that  we  are  going  to  France,  to  Paris, 
at  once.  Carl  is  not  surprised.  He 
had  been  with  me  for  a  long  time.  We 
decide  that  we  tell  nobody  and  per- 
haps we  can  escape  ceremonies.  We 
will  keep  the  apartment  at  the  Ritz 
and  keep  the  stenographers  working, 
so  that  callers  will  think  that  we  are 
hiding  about  London  somewhere. 

We  are  going  to  leave  on  Sunday 
and  our  plans  are  perfected  in  rapid- 
fire  order.  We  plunge  about  in  a  ter- 
rible rush  as  we  try  to  arrange  every- 
thing at  the  last  minute  without  giving 
the  appearance  of  arranging  anything. 


A, 


k.ND  in  spite  of  everything,  there 
is  a  mob  at  the  station  to  see  us  off 
and  autograph  books  are  thrown  at 
me  from  all  sides.  I  sign  for  as 
many  as  I  can  and  upon  the  others  I 
bestow  my  "prop"  grin.  Wonder  if 
I  look  like  "Doug"  when  I  do  this? 
We  meet  the  skipper.    What  does 


Something  vibrant — the 
tempo  of  life  is  faster.  The  springs 
in  its  mechanism  are  wound  taut. 
This  is  the  comedian's  impression 
as  his  ship  approached  Calais.  He 
was    fleeing    from    London  "to 
rest."  But  a  crowded  dock  awaited 
him — waving  hats,  kisses,  cheers. 
"Twice  I  was  kissed,  but  I  was 
afraid  to  look  around  to  see  who 
did  it,"  Charles  has  written,  in  this 
attractive  installment  of  his  excit- 
ing memoirs. 


one  ask  skippers?  Oh,  yes,  how  does 
it  look  for  crossing?  As  I  ask,  I  cast 
my  weather  eye  out  into  the  channel 
and  it  looks  decidedly  rough  to  me. 

But  the  skipper's  "just  a  bit  choppy" 
disarms  me. 

I  am  eager  to  get  on  the  boat,  and 
the  first  person  I  meet  is  Baron  Long, 


owner  of  a  hotel  in  San  Diego.  Good 

Hon6"8'  ?>nV  ever  S£t  away  fr°ni 
Hollywood?    I  am  glad  to  see  him, 

but  not  now.   He  is  very  clever,  how- 

TTl  5e„Sen,S>es  the  sit«ation,  smiles 
quick  hellos,"  and  then  makes  him- 
self scarce.  In  fact,  I  think  he  wanted 
to  get  away  himself.  Maybe  he  was 
as  anxious  for  a  holiday  as  I. 

I  AM  approached  on  the  boat  by 
two  very  charming  girls.  They  want 
my  autograph.  Ah,  this  is  nice.  I 
never  enjoyed  writing  my  name  more. 

How  I  wish  that  I  had  learned 
French.  I  feel  hopelessly  sunk,  be- 
cause after  about  three  sentences  in 
French  I  am  a  total  loss  as  far  as 
conversation  is  concerned.  One  girl 
promises  to  give  me  a  French  les- 
son. This  promises  to  be  a  pleasant 
trip. 

I  am  told  that  in  France  they  call 
me  Chariot.  We  are  bV  this  time  strol- 
ling about  the  boat  and  bowing  every 
other  minute.  It  is  getting  rough  and 
I  find  myself  saying  I  rather  like  it 
that  way.  Liar. 

She  is  speaking.  I  smile.  She 
smiles.  She  is  talking  in  French  I 
am  getting  about  every  eighth  word. 
1  cant  seem  to  concentrate.  French 
is  so  difficult.   Maybe  it's  the  boat. 

I  am  dying  rapidly.  I  feel  like  a 
dead  weight  on  her  arm.  I  can  almost 
feel  myself  get  pale  as  I  try  to  say 


something,  anything.  I  am  weak  and 
perspiring.  I  blurt  out,  "I  beg  par- 
don," and  then  I  rush  off  to  my  cabin 
and  lie  down.  Oh,  why  did  I  leave 
England?  Something  smells,  hor- 
rible. I  look  up.  My  head  is  near  a 
new  pigskin  bag.  Yes,  that's  it,  that 
awful  leathery  smell.  But  I  have 
company.  Robinson  is  in  the  cabin 
with  me  and  we  are  matching  ailments. 

Thus  we  spent  the  trip  from  Dover 
to  Calais  and  I  was  as  glad  to  get  to 
the  French  coast  as  the  Kaiser  would 
have  been  had  he  kept  that  dinner 
engagement  in  Paris. 

Nearing  France,  I  am  almost  for- 
getting my  sickness.  There  is  some- 
thing in  the  atmosphere.  Some- 
thing vibrant.  The  tempo  of  life  is 
faster.  The  springs  in  its  mechanism 
are  wound  taut.  I  feel  as  if  I  would 
like  to  take  it  apart  and  look  at  those 
springs. 

I  am  met  by  the  chief  of  police, 
which  surprised  me,  because  I  was 
confident  that  I  had  been  canny 
enough  to  make  a  getaway  this  time. 
But  no.  The  boat  enters  the  quay  and 
I  see  the  dock  crowded  with  people. 
Some  treachery.  Hats  are  waving, 
kisses  are  being  thrown  and  there  are 
cheers.  Cheers  that  I  can  only  get 
through  the  expression,  because  they 
are  in  French  and  I  am  notoriously 
deficient  in  that  language. 

"VlVE  LE  CHARLOT!"  "Bra- 
vo, Chariot !"  I  am  "Charioted"  all 
over  the  place.  Strange,  this  foreign 
tongue.  Wonder  why  a  universal 
language  isn't  practicable?  They 
are  crowding  about  me,  asking  for 
autographs.  Or  at  least  I  think  they 
are,  because  they  are  pushing  books 
in  my  face,  though  for  the  life  of  me 
I  can't  make  out  a  word  of  their 
chatter.  But  I  smile,  God  bless  that 
old  "prop"  grin,  because  they  seem  to 
like  it. 

Twice  I  was  kissed.  I  was  afraid 
to  look  around  to  see  who  did  it,  be- 
cause I  knew  I  was  in  France.  And 
you  must  give  me  the  benefit  of  the 
doubt.  I  am  hoping  that  both  kisses 
came  from  pretty  girls,  though  I  do 
think  that  at  least  one  of  those  girls 
should  shave. 

They  examine  my  signature  closely. 
They  seem  puzzled.  I  look.  It  is 
spelled  right.  Oh,  I  see!  They  ex- 
pected "Chariot."  And  I  write  some 
more  with  "Chariot." 

I  am  being  bundled  along  to  a 
funny  little  French  train.  It  seems 
.  like  a  toy.  But  I  am  enjoying  the 
difference.  Everything  is  all  changed. 
The  new  money,  the  new  language, 
the  new  faces,  the  new  architecture 
— it's  a  grown-up  three-ring  circus  to 
me.  The  crowd  gives  a  concerted 
cheer  as  the  train  pulls  out  and  a  few 


Hollywood.  SCREENL&ND  CMift^ 

intrepid  ones  run  alongside  until  dis- 
tanced by  steam  and  steel. 

It  has  started  to  rain  as  we  arrive 
in  Paris,  which  adds  to  my  state  of 
excitement,  and  a  reportorial  ava- 
lanche falls  upon  me.  I  am  about 
overcome.  How  did  reporters  know  I 
was  coming?  The  crowd  outside  the 
station  is  almost  as  large  as  the  one 
in  London. 

I  am  still  feeling  the  effects  of  my 
seasickness.  I  am  not  equal  to  speak- 
ing nor  answering  questions.  We  go 
to  the  customs  house  and  one  journal- 
ist, finding  us,  suggests  and  points  an- 
other way  out.  I  am  sick.  I  must 
disappoint  the  crowd,  and  I  leap  into 
a  taxi  and  am  driven  to  Claridge's 
hotel. 


OUT  of  the  frying  pan."  Here 
are  more  reporters.  And  they  speak 
nothing  but  French.  The  hubbub 
is  awful.  We  talk  to  each  other. 
We  shout  at  each  other.  We  talk 
slowly.  We  spell.  We  do  everything 
to  make  Frenchmen  understand  Eng- 
lish and  Englishmen  understand 
French,  but  it  is  no  use.  One  of 
them  manages  to  ask  me  what  I  think 
of  Paris. 

I  answer  that  I  never  saw  so  many 
Frenchmen  in  my  life.  I  am  looking 
forward  eagerly  to  meeting  Cami,  the 
famous  French  cartoonist.  We  have 
been  corresponding  for  several  years, 
he  sending  me  many  drawings  and  I 
sending  him  still  photos  from  pic- 
tures. We  had  built  up  quite  a  friend- 
ship and  I  have  been  looking  forward 
to  a  meeting.   I  see  him. 

He  is  coming  to  me  and  we  are 
both  smiling  broadly  as  we  open  our 
arms  to  each  other. 

"Cami!" 
-  "Chariot!" 

Our  greeting  is  most  effusive.  And 
then  something  goes  wrong.  He  is 
talking  in  French,  a  blue  streak  with 
the  rapidity  of  a  machine  gun.  I  can 
feel  my  smile  fading  into  blankness. 
Then  I  get  an  inspiration.  I  start 
talking  in  English  just  as  rapidly. 
Then  we  both  talk  at  once.  It's  the 
old  story  of  the  irresistible  force  and 
the  immovable  body.  We  get  nowhere 
Then  I  try  talking  slowly,  extren<  - 
ly  slow. 

"Do — you — understand  ?" 
It  means  nothing.  We  both  realize 
at  the  same  time  what  a  hopeless  thing 
our  interview  is.  We  are  sad  a  bit, 
then  we  smile  at  the  absurdity  of  it. 
He  is  still  Cami  and  I  am  still  Chariot, 
so  we  grin  and  have  a  good  time  any- 
how. 

He  stays  to  dinner,  which  is  a  hectic 
meal,  for  through  it  all  I  am  tasting 
this  Paris,  this  Paris  that  is  waiting 
for  me.  We  go  out  and  to  the  Folies 
Bergere.  Paris  does  not  seem  as  light 
as  I  expected  it  to  be. 


31 


And  the  Folies  Bergere  seems  shab- 
bier. I  remember  having  played  here 
once  myself  with  a  pantomime  act. 
How  grand  it  looked  then.  Rather 
antiquated  now.  Somehow  it  sad- 
dened me,  this  bit  of  memory  that 
was  chased  up  before  me. 

Next  day  there  is  a  luncheon  with 
Dudley  Field  Malone  and  Waldo 
Frank.  It  is  a  brisk  and  vivacious 
meal,  except  when  it  is  broken  up  by 
a  visit  from  the  American  newspaper 
correspondents. 

"Mr.  Chaplin,  why  did  you  come  to 
Europe?" 

"Are  you  going  to  Russia?" 
"Did  you  call  on  Shaw?" 
They  must  have  cabled  over  a  set 
of  questions.  I  went  all  over  the 
catechism  for  them  and  managed  to 
keep  the  "prop"  grin  at  work.  I 
wouldn't  let  them  spoil  Paris  for  me. 

We  escaped  after  a  bit  and  back  at 
the  hotel  I  notice  an  air  of  formality 
creeping  into  the  atmosphere  as  I  hear 
voices  in  the  parlor  of  my  suite.  Then 
my  secretary  comes  in  and  announces 
that  a  very  important  personage  is 
calling  and  would  speak  with  me. 

He  enters,  an  attractive  looking 
gentleman  and  he  speaks  English. 

"Mr.  Chaplin,  that  I  am  to  you  talk 
of  greetings  from  the  heart  of  the 
people  of  France,  that  you  make 
laugh.  Cannot  you  forego  to  make 
showing  of  yourself  with  charity 
sometime  for  devastated  France  ?  On 
it  behalf,  I  say  to  you 


I  tell  him  that  I  will  take  it  up 
later. 

He  smiles,  "Ah,  you  are  boozy." 

"Oh,  no,  I  haven't  had  a  drink  for 
several  days,"  I  hasten  to  inform  him. 
"I  am  busy  and  want  to  get  to  bed 
early  tonight." 

But  Malone  butts  in  with,  "Oh,  yes, 
he's  very  boozy." 

And  I  get  a  bit  indignant  until  Ma- 
lone tells  me  that  the  Frenchman 
means  "busy." 


T 


_  HEN  I  am  told  that  there  is  one 
young  journalist  still  waiting  who 
has  been  here  all  day,  refusing  to  go 
until  I  have  seen  him.  And  I  tell 
them  to  bring  him  in.  He  comes  in 
smiling  in  triumph. 

And  he  can't  speak  English. 
After  his  hours  of  waiting  we  can- 
not talk. 

I  feel  rather  sorry  for  him  and  we 
do  our  best.  Finally,  with  the  aid  of 
about  every  one  in  the  hotel  he  man- 
ages to  ask : 

"Do  you  like  France?" 

"Yes,"  I  answer. 

He  is  satisfied. 

That  evening  I  go  with  a  party  of 
Dudley  Field  Malone's  to  the  Palais 
Royale  in  the  Montmartre  district. 
This  is  a  novelty.    Different.  Seems 
several  steps  ahead  of  America^  And 


32 

it  has  atmosphere,  something  entirely 
its  own,  that  you  feel  so  much  more 
than  the  tangible  things  about  you. 

There  is  a  woman  wearing  a  mon- 
ocle. A  simple  touch,  but  how  it 
changes.  The  fashions  here  proclaim 
themselves  even  without  comparison 
and  expert  opinion.  The  music  is  sim- 
ple, exotic,  neurotic.  Its  simplicity 
demands  attention.  It  reaches  inside 
you  instead  of  affecting  your  feet. 

They  are  dancing  a  tango.    It  is 
entertainment  just  to  watch  them. 
The  pauses  in  the  music,"  its  dreamy 
cadences,  its  insinuation,  its  sugges- 
tiveness,  its  whining,  almost  monoto- 
nous swing.    It  is  tropical  yet,  this 
Pans.    And  I  realize  that  Paris  is 
at  a  high  pitch.    Paris  has  not  yet 
had  relief  from  the  cloddy  numb- 
ness brought  on  with  the  war.  f 
wonder  will  relief  come  easily 
or  will  there  be  a  conflagra- 
tion. 

I  meet  Douglas,  the  corre- 
spondent.   We  recall  our  first 
meeting  in  the  kitchen  of  Chris- 
tine's in  Greenwich  Village. 

It  is  soon  noised  about  that  I  am 
here  and  our  table  takes  on  the  at- 
mosphere of  a  reception.  What  a 
medley  J 

Strangely  garbed  artists,  long-haired 
poets,  news  sheet  and  flower  vendors 
sightseers,  students,  children  and  co- 
cottes.  Presently  came  Miss  Iris  Tree, 
the  poet,  her  lovely  golden  hair  gleam- 
ing in  the  tavern  light,  and  she  with 
the  air  and  figure  of  a  medieval  page. 

It  is  good  to  see  her  again  and  we 
fix  up  a  bit  of  a  party  and  get  into 
Dudleys  petrol  wagon,  and  as  we 
bowl  along  we  sing  songs,  ancient 
songs  of  the  music  halls,  "After  the 
Ball,"  "The  Man  That  Broke  the 
Bank  of  Monte  Carlo,"  and  many 
another  which  I  had  not  thought  of 
in  years.  Presently  the  wagon  be- 
comes balky  and  will  not  continue. 
So  we  all  pile  out  and  into  a  tavern 
near  by,  where  we  call  for  wine. 

And  Dudley  played  upon  the  tin- 
pan-sounding  piano.  There  came  one 
a  tall,  strange,  pale  youth,  who  asked 
if  we  would  like  to  go  to  the  haunt 
of  the  Agile  Rabbit.  Thence  uphill 
and  into  a  cavernous  place.  When 
the  patron  came  the  youth  ordered 
wine  for  us.  Somehow  I  think  he 
sensed  the  fact  that  I  wanted  to  re- 
main incognito. 


ftJi'~"A  SCREENLAMD  Ciifi™. 


I  "Hello  France.'"  Charlie  sees 
the  crowded  docks. 


1  HE  patron  was  such  a  perfect 
host.  Ancient  and  white-bearded, 
he  served  us  with  a  finesse  that  was 
pure  artistry.  Then  at  his  com- 
mand one  named  Rene  Chedecal,  with 
a  sad,  haunted  face,  played  upon  the 
violin. 

That  little  house  sheltered  music 
that  night.  He  played,  as  if  from  his 
soul,  a  message  yearning,  passionate, 


sad,  gay,  and  we  were  speechless  be- 
fore the  emotional  beauty  and  mys- 
tery of  it. 

I  was  overcome.  I  wanted  to  ex- 
press my  appreciation,  but  could  do 
no  more  than  grasp  his  hand.  Genius 
breeds  in  strange  places  and  humble. 

And  then  the  bearded  one  sang  a 
song  that,  he  said,  the  followers  of 
Lafayette  had  sung  before  they  left 
France  for  America.  And  all  of  us 
joined  in  the  chorus,  singing  "Apres 
de  ma  blonde"  lustily. 

Then  a  young  chap  did  two  songs 
from  Verlaine,  and  a  poet  with  con- 
siderable skill  recited  from  his  own 
poems.  How  effective  for  the  creator 
of  a  thought  to  interpret  it.  And  af- 
terward the  violin  player  gave  us  an- 
other selection  of  great  beauty,  one 
of  his  own  compositions. 

Then  the  old  patron  asked  me  to 
put  my  name  in  his  ledger,  which  con- 
tained many  names  of  both  humble 
and  famous.  I  drew  a  picture  of  my 
hat,  cane  and  boots,  which  is  my  fa- 
vorite autograph.  I  wrote,  "I  would 
sooner  be  a  gypsy  than  a  movie  man," 
and  signed  my  name. 


Home  in  the  petrol  wagon,  which 
by  this  time  had  become  manageable 
again.  An  evening  of  rareness.  Beau- 
ty, excitement,  sadness  and  contact 
with  human,  lovable  personalities 

Waldo  Frank  called  the  next  "day 
bringing  with  him  Jacques  Copeau, 
one  of  the  foremost  dramatists  and 
actors  in  France,  who  manages  and 
directs  in  his  own  theatre.  We  go 
to  the  circus  together  and  I  never 
saw  so  many  sad- faced  clowns.  We 
dine  together  and  late  that  night  I 
have  supper  with  Copeau's  company 
in  a  cafe  in  the  Latin  quarter.  It  is 
a  gay  evening,  lasting  until  about 
three  in  the  morning. 


ALDO  FRANK  and  I  sit  on  a 
bench  in  the  Champ  Elysee  and 
watch  the  wagons  going  to  market 
in  the  early  morning.    Paris  seems 
most  beautiful  to  me  just  at  this  time 
What  a  city!    What  is  the  force 
that  has  made  it  what  it  is?  Could 
any  One  conceive  such  a  creation,  such 
a  land  of  continuous  gayety?   It  is  a 
masterpiece   among  cities,   the  last 
word  in  pleasure.    Yet  I  feel  that 
something  has  happened  to  it,  some- 
thing that  they  are  trying  to  cover 
by  heightened  plunges  into  song  and 
laughter. 

We  stroll  along  the  boulevard  and 
it  is  growing  light.  I  am  recognized 
and  we  are  being  followed.  We  are 
passing  a  church.  There  is  an  old 
woman  asleep  on  the  steps.  But  she 
does  not  seem  worn  and  haggard. 
There  is  almost  a  smile  on  her  face 
as  she  sleeps.  She  typifies  Paris  to 
m%.  Hid^s.her  poverty  behind  a  smile. 

Sir  Philip  Sassoon,  who  is  the  con- 
fidential secretary  to  Lloyd  George 
calls  the  next  day,  and  with  him 
Georges  Carpentier,  the  pugilistic  idol 
of  France,  and  we  are  photographed 
many  times,  the  three  of  us,  together 
and  separately. 

4  1  am  quite  surprised  that  Sir  Philip 
is  such  a  young  man.  I  had  pictured 
the  secretary  of  Lloyd  George  as 
rather  a  dignified  and  aged  person. 
He  makes  an  appointment  for  me  to 
dine  with  Lord  and  Lady  Rock-Sav- 
age the  next  day.  Lady  Rock-Savage 
is  his  sister. 

I  also  lunch  with  them  the  next 
day,  and  then  to  a  very  fashionable 
modiste's  for  some  shopping.  This 
is  my  first  offense  of  this  sort.  I 
meet  Lady  Astor,  who  is  shopping 
there  also. 

It  was  quite  a  treat  for  me,  watch- 
ing the  models  in  this  huge,  elaborate 
institution  that  was  really  a  palace  in 
appointments.  In  fact,  it  greatly  re- 
sembled the  palace  at  Versailles. 

I  felt  very  meek  when  tall,  suave 
creatures  strolled  out  and  swept  past 
me,  some  imperious,  some  contemp- 
tuous.  It  was  a  studied  air,  but  they 


did  it  well.  I  wonder  what  effect  it 
has  on  the  girl's  mind  as  she  parades 
herself  before  the  high-born  ladies 
and  gentlemen. 

But  I  catch  the  imperfection  in  their 
schooling.  It  is  very  amusing  to  watch 
them  strut  about  until  their  display  is 
made  and  then,  their  stunt  done, 
slouch  back  into  the  dressing-rooms 
sans  carriage  and  manner. 

And  then,  too,  I  am  discovered. 
This  also  caused  a  break  in  the  spell 
of  their  queenly  stroll.  They  are 
laughing  and  at  the  same  time  trying 
to  maintain  the  dignity  due  the  gowns 
they  are  wearing.  They  become  self- 
conscious  and  the  effect  is  ludicrous. 
I  am  demoralizing  the  institution,  so 
we  get  away.  I  would  like  to  talk  to 
some  of  the  models,  but  it  can't  be 
done  very  well. 

From  there  we  go  to  a  candy  store, 
where  I  lay  in  a  supply  of-  chocolates 
and  preserved  fruits  for  my  trip  into 
Germany  the  next  day.  I  am  invited 
by  Sir  Philip  to  visit  him  at  his  coun- 
try home  in  Lympne,  Kent,  on  my  re- 
turn from  Germany. 


1  HE  train  to  Germany  left  so  late 
in  the  evening  that  it  was  im- 
possible for  me  to  see  devastated 
France,  even  though  we  passed 
through  a  considerable  portion  of  it. 
Our  compartment  on  the  train  is  very 
stuffy  and  smelly  and  the  train  service 
is  atrocious,  food  and  sanitary  condi- 
tions being  intolerable  after  American 
train  service. 

Again  there  is  a  crowd  at  the  sta- 
tion to  see  me  off,  but  I  am  rather 
enjoying  it.  A  beautiful  French  girl 
presents  me  with  a  bouquet  of  flowers 
with  a  cute  little  speech,  or  at  least  I 
suppose  it  was,  because  she  looked 
very  cute  delivering  it,  and  the  pouts 
that  the  language  gave  to  her  red  lips 
were  most  provocative.  She  tells  me 
in  delicious  broken  English  that  I  look 
tired  and  sad  and  I  find  myself  yielding 
without  a  struggle  to  her  suggestion. 

We  arrive  at  Joumont  near  the  Bel- 
gian frontier  along  about  midnight, 
and  like  a  message  from  home,  there 
is  a  gang  of  American  soldier  boys  at 
the  station  to  greet  me.  And  they  are 
not  alone,  for  French,  Belgian  and 
British  troops  are  also  waving  and 
cheering.  I  wanted  to  talk  to  the 
Belgians,  and  we  tried  it,  but  it  was  no 
use.  What  a  pity. 

But  one  of  them  had  a  happy  in- 
spiration and  saved  the  day. 
"Glass  of  beer,  Chariot?"  • 
I  nod,  smiling.  And  to  my  surprise 
they  bring  me  beer,  which  I  lift  to 
my  lips  for  politeness,  and  then  drink 
it  to  the  last  drop  in  pure  pleasure. 
It  is  very  good  beer. 

There  is  a  group  of  charming  little 
Belgian  girls.  They  are  smiling  at  me 


SCREENIAND  C*ii£*»~ 

shyly  and  I  so  want  to  say  something 
to  them.  But  I  can't.  Ah,  the  bou- 
quet !  Each  little  girl  gets  a  rose  and 
they  are  delighted.  .  .  - 

"Merci,  Merci,  Monsieur.  And 
they  keep  "merciing"  and  bowing  un- 
til the  train  pulls  out  of  the  station, 
which  emboldens  them  to  join  the  sol- 
diers in  a  cheer. 

Through  an  opening  between  the 
railroad  structures  I  see  a  brilliant 
lighting  display.  It  is  universal,  this 
sign.  Here  is  a  movie  in  this  tiny 
village.  What  a  wonderful  medium 
to  reach  such  an  obscure  town. 

On  the  train  I  am  being  told  that 
my  pictures  have  not  played  in  Ger- 
many, hence  I  am  practically  un- 
known there.  This  rather  pleases  me, 
because  I  feel  that  I  can  relax  and  be 
away  from  crowds. 

Every  one  on  the  train  is  nice  and 
there  is  no  trouble.  Conductors  strug- 
gle with  English  for  my  benefit  and 
the  custom  officers  make  but  little 
trouble.  In  fact,  we  cross  the  border 
at  3  in  the  morning  and  I  am  asleep. 
Next  morning  I  find  a  note  from  the 
customs  man  saying:  "Good  luck, 
Charlie.  You  were  sleeping  so  sound- 
ly that  I  did  not  have  the  heart  to 
wake  you  for  inspection." 

Germany  is  beautiful.  Germany 
belies  the  war.  There  are  people 
crowding  the  fields,  tilling  the  soil, 
working  feverishly  all  the  time  as  our 
train  rushes  through.  Men,  women 
and  children  are  all  at  work.  They 
are  facing  their  problem  and  rebuild- 
ing. A  great  people  preverted  for 
and  by  a  few. 

The  different  style  of  architecture 
here  is  interesting.'  Factories  are  be- 
ing built  everywhere.  Surely,  this 
isn't  conquered  territory.  I  do  not 
see  much  live  stock  in  the  fields.  This 
seems  strange. 

A  dining  car  has  been  put  on  the 
train  and  the  waiter  comes  to  our 
compartment  to  let  us  know  that  we 
may  eat.  Here  is  novelty.  A  seven- 
course  dinner,  with  wine,  soup,  meat, 
vegetables,  salad,  dessert,  coffee  and 
bread  for  28  cents.  This  is  made  pos- 
sible by  the  low  rate  of  exchange. 


33 


Wi 


E  go  to  the  Adlon  Hotel  in  Ber- 
lin and  find  that  hostelry  jammed 
owing  to  the  auto  races,  which  are 
being  run  off  at  this  time.  A  dif- 
ferent atmosphere  here.  It  seems 
hard  for  me  to  relax  and  get  the 
normal  reaction  to  meeting  people. 
They  don't  know  me  here.  I  have 
never  been  heard  of.  It  interests 
me  and  I  believe  I  resent  it  just  a 
bit. 

I  notice  how  abrupt  and  polite  the 
Germans  are  to  foreigners  and  I  de- 
tect a  tinge  of  bitterness,  too.  I  am 
wondering  about  my  pictures  making 


their  debut  here.  I  question  the  power 
of  my  personality  without  its  back- 
ground of  reputation. 

I  am  feeling  more  restful  under  this 
disinterested  treatment,  but  somehow 
I  wish  that  my  pictures  had  been 
shown  here.  The  people  at  the  hotel 
are  very  courteous.  They  have  been 
told  that  I  am  the  "white-headed  boy 
and  quite  the  guy  in  my  home  town." 
Their  reactions  are  amusing.  I  am 
not  very  impressive  looking  and  they 
are  finding  it  hard  to  believe. 

There  is  quite  a  crowd  in  the  lobby 
and  a  number  of  American  and  Eng- 
lish. They  are  not  long  in  finding  me, 
and  a  number  of  English,  French  and 
American  reporters  start  making  a 
fuss  over  me.  The  Germans  just 
stand  and  look  on  bewildered. 

Carl  von  Weigand  comes  forward 
with  the  offer  of  the  use  of  his  office 
while  I  am  here.  The  Germans  are 
impressed  with  all  this,  but  they  show 
no  enthusiasm.  I  am  accepted  in  an 
offhand  way  as  some  one  of  import- 
ance and  they  let  it  go  at  that. 

The  Scala  Theatre,  where  I  spent 
the  evening,  is  most  interesting, 
though  I  think  a  bit  antiquated 
when  compared  to  English  and 
American  theatrical  progress  along 
the  same  lines.  It  seats  about  5,000, 
mostly  on  one  floor,  with  a  very 
small  balcony.  It  is  of  the  variety, 
music  hall  type,  showing  mostly 
"dumb"  acts— acts  that  do  not  talk 
or  sing,  like  comic  jugglers,  acro- 
bats and  dancers. 

I  am  amused  by  a  German  come- 
dian singing  a  song  of  about  twenty 
verses,  but  the  audience  is  enthused 
and  voices  its  approval  at  every 
verse.  During  the  intermission  we 
have  frankfurters  and  beer,  which 
are  served  in  the  theatre.  I  notice 
the  crowds.  They  go  to  the  theatre 
there  as  a  family.  It  is  j"ust  that  type 
of  an  affair. 

I  notice  the  different  types  of 
beauty,  though  beauty  is  not  very 
much  in  evidence  here.  Here  and 
there  are  a  few  pretty  girls,  but  not 
many.  It  is  interesting  to  watch  the 
people  strolling  during  the  intermis- 
sion, drinking  lager  and  eating  all 
sorts  of  food. 


LEAVING  the  theatre,  we  visit 
the  Scala  Cafe,  a  sort  of  impres- 
sionistic casino.  The  Scala  is  one 
of  the  largest  cafes  in  Berlin,  where 
the  modernist  style  of  architecture 
has  been  carried  out  fully. 

The  walls  are  deep  mottled  sea 
green,  shading  into  light  verdigris 
and  emerald,  leaning  outward  at  an 
angle,  thereby  producing  an  effect  of 
collapse  and  forward  motion.  The 
junction  of  the  walls  and  the  ceiling 
is  broken  into  irregular  slabs  of 


34 


stone,  like  the  strata  of  a  cave.  Be- 
hind these  the  lights  are  hidden,  the 
whole  system  of  illumination  being- 
based  on  reflection. 

The  immense  dislocation  of  the 
planes  and  angles  of  the  vault-like 
ceiling  is  focused  on   the  central 
point,  the  huge  silver  star  or  crys- 
tal bursting  like  an  exploding  bomb 
through  the  roof.    The  whole  effect 
is    weird,    almost    ominous.  The 
shape  of  the  room  in  its  ground  plan 
is  itself  irregular— the  impression  is 
that  of  a  frozen  catastrophe.  Yet 
this  feeling  seems  to  be  in  accord 
with  the  mood  of  revelers  in  Ger- 
many today. 

From  there  to  the  Palais  Hein- 
roth,  the  most  expensive  place  in 
Berlin  and  the  high  spot  of  night 
life.  It  is  conspicuous  in  its  bril- 
liance, because  Berlin  as  a  city  is  so 
badly  lighted.  At  night  tjie  streets 
are  dark  and  gloomy,  and  it  is  then 
that  one  gets  the  effect  of  war  and 
defeat. 

At  the  Heinroth  every- 
body   was    in  evening 
dress.    We  weren't.  My 
appearance  did  not  cause 
any  excitement.  We  check 
our  hats  and  coats  and 
ask  for  a  table.  The  man- 
ager shrugs  his  shoulders. 
There  is  one  in  the  back, 
a  most  obscure  part  of  the 
room.   This  brings  home 
forcibly  the  absence  of  my 
reputation.      It  nettled 
me.  Well,  I  wanted  rest. 
Th  is  was  it. 

We  are  about  to  accept 
humbly  the  isolated  table 
when  I  hear  a  shriek  and  I 
am  slapped  on  the  back 
and  there's  a  yell  • 

"Charlie!" 

It  is  Al  Kaufman  of  the  Lasky 
corporation  and  manager  of  the  Fa- 
mous Players  studio  in  Berlin. 

"Come  over  to  our  table.  Pola 
Negri  wants  to  meet  you." 


HaiywooA  SCREENLAHD  C*ufi 


is  Polish  and  really  true  to  the  type 
Beautiful  jet-black  hair,  white  even 
teeth  and  wonderful  coloring  I 
think  it  such  a  pity  that  such  color- 
ing does  not  register  on  the  screen. 

bhe  is  the  center  of  attraction 
here.  I  am  introduced.  What  a 
voice  she  has !  Her  mouth  speaks  so 
prettily  the  German  language  Her 
voice  has  a  soft,  mellow  quality 
with  charming  inflections.  Offered 
a  drink,  she  clinks  my  glass  and  of- 
fers her  only  English  words,  "Jazz 
boy,  Charlie." 

Language  again  stumps  me.  What 
a  pity!  But  with  the  aid  of  a  third 
party  we  get  along  famously.  Kauf- 
man whispers: 

"Charlie,  you've  made  a  hit  She 
just  old  me  that  you  are  charming  " 
\ou  tell  her  that  she's  the  loveli- 
est  thing   I've   seen   in  Europe." 

I  nese  compliments  keep  up  for 
some  time  and  then  I  ask  Kaufman 
how  to  say  "I  think  you  are  divine" 
in  German.    He  tells  me  something 


I 


q  Jazz-Boy  Charlie."  That  is  all  the 
English  Pola  Negri  could  speak. 
But  they  understood  each  other. 


A, 


iGAIN  I  come  into  my  own.  The 
Germans   look   on   wondering.  I 
have  created  attention  at  last  I 
discover  that  there  is  an  American 
jazz  band  in  the  place.    In  the  mid- 
dle of  a  number  they  stop  playing 
and  shout :  s 
"Hooray  for  Charlie  Chaplin  !" 
The  proprietor  shrugs  his  shoul- 
ders and  the  band  resumes  playing. 
I  learn  that  the  musicians  are  former 
American  doughboys.    I  feel  rather 
pleased  that  I  have  impressed  the 
Germans  in  the  place. 

In  our  party  were  Rita  Kaufman, 
wife  of  Al ;  Pola  Negri,  Carl  Robin- 
son and  myself. 

Pola  Negri  is  really  beautiful.  She 


in  German  and  I  repeat  it  to  her 

She  s  startled  and  looks  up  and 
slaps  my  hand.  "Naughty  boy,"  she 
says.  The  table  roars.  I  sense  that  I 
have  been  double  crossed  by  Kauf- 
man. What  have  I  said  ?  But  Pola 
joins  in  the  joke,  and  there  is  no 
casualty.  I  learn  later  that  I  have 
said,  "I  think  you  are  terrible  "  I 
decided  to  go  home  and  learn  Ger- 
man. 

As  I  am  going  out  the  proprietor 
approaches  and  very  formally  ad- 
dresses me.  "I  beg  pardon,  sir.  I 
understand  that  you  are  a  great  man 
in  the  United  States.  Accept  my 
apologies  for  not  knowing,  and  the 
gates  here  are  always  opert  to  you  " 
I  accepted  them  formally,  though 
through  it  all  I  feel  very  comic 
opera.    I  didn't  like  the  proprietor 


WANT  to  go  through  the  Ger- 
man slums.  I  mention  such  a  trip 
to  a  German  newspaper  man.  I  am 
told  that  I  am  just  like  every  Lon- 
doner and  New  Yorker  who  comes 
to  Berlin  for  the  first  time;  that  I 
want  the  Whitechapel  district,  the 
Bowery  of  Berlin,  and  that  there 
is  no  such  district.  Once  upon  a 
time  there  were  hovels  in  Berlin,  but 
they  have  long  since  disappeared. 

This  to  me  is  a  real  step  toward 
civilization. 

My  newspaper  friend  tells  me  that 
he  will  give  me  the  next  best  thing 
to  the  slums,  and  we  go  to  Krogel. 
What  a  picture  could  be  made  here! 
I  am  fascinated  as  I  wander  through 
houses  mounted  on  shaky  stilts  and 
courts  ancient  but  cleanly. 

Then  we  drove  to  Acker  street 
and  gazed  into  courts  and  base- 
ments.   In  a  cafe  we  talked  to  men 
and  women  and  drank  beer.    I  al- 
most launched  a  new  war  when, 
wishing  to  pay  a  charge  of 
180  marks,  I  pulled  from 
my  pocket  a  roll  of  fifty 
1,000-mark  notes. 

My  friend  paid  the  check 
quickly  with  small  change 
and  hustled  me  out,  tell- 
ing me  of  the  hard  faces 
and  criminal  types  who 
were  watching.  He's  prob- 
ably right,  but  I  love 
those  poor,  humble  people. 

We  drove  to  the  arbor 
colonies  in  the  northern 
part  of  the  city,  stopping 
at  some  of  the  arbors  to 
talk  to  the  people.    I  feel 
that  I  would  like  to  eat  din- 
ner here  among  these  peo- 
ple, but  I  haven't  sufficient 
courage  to  persuade  my 
companion,  who  wouldn't  think  of  it 
Passing  through  the  northern  part  of 
Berlin,  I  found  many  beauties,  which 
my  friend  let  me  know,  were  not  con- 
sidered beautiful  at  all. 

He  even  suggested  that  he  show 
me  something  in  contrast  with  all  I 
had  seen.  I  told  him  no,  that  it 
would  spoil  my  whole  viewpoint. 

It  has  been  rather  a  restful  ex- 
perience, going  through  the  whole 
town  without  being  recognized,  but 
even  as  I  am  thinking  it  a  fashion- 
able lady  and  her  young  daughter 
pass  and  by  their  smiles  I  know 
that  I  am  again  discovered. 

And  then  we  meet  Fritz  Kreisler 
and  his- wife,  who  are  just  leaving 
for  Munich.  We  have  quite  a  chat 
and  then  make  tentative  engage- 
ments to  be  carried  out  in  Los  An- 
geles on  his  next  trip  there. 

I  notice  that  the  Germans  seem 
to  be  scrupulously  honest,  or  maybe 
{Continued  on  page  48.) 


35 


onfessions 

of  a  STAR 

Interviewer 


R 


By  ANOTHER  ONE  OF  THEM 


lUTH  HALE,  the  writer  (whose 
husband  is  Heywood  Broun,  also 
a  writer  whose  name  appears  from 
time  to  time  in  various  periodicals), 
tells  a  story  about  two  actresses 
who,  once  upon  a  time,  were  in  the 
chorus  together,  but  who  later  rose 
or  were  lifted  to  much  more  con- 
spicuous places  in  the  spoken  drama. 
One  of  them  became  a  culture  addict 
and  her  airs  began  at  last  to  irk  her 
less  pretentious  comrade.  One  day 
the  two  were  sitting  at  tea.  The  heavy 
affectations  of  the  one,  which  deceived 
those  who  did  not  know  her  so  well  as 
did  her  friend,  became  too  much  for 
the  friend,  who  finally  turned  upon 
her  and  inquired^ 

"Dearie,  ain't  you  ever  common  no 
more  ?" 

Some  of  our  movie  queens, even  some 
of  the  kings,  yea,  even  some  of  the 
two-spots,  would  be  better  off  if  they 
had  friends  equally  as  frank.  They 
have  forgotten  the  one  touch  of  na- 
ture that  makes-  the  whole  world  kin. 
Maybe  they  don't  want  to  be  kin  to 
the  whole  world,  but  even  if  they  have 
withdrawn  themselves  to  the  upper 
levels  they  should  not  let  too  many 
people  know  about  it.  For  the  mov- 
ing-picture business  is  one  sphere  in 
which  he  or  she  who  has  the  swelled 
head  will  sooner  or  later  get  the  bump 
from  which  there  is  no  returning. 

One  reason  that  Mabel  Normand 
is  never  without  a  defender  is  that 
she  is  not  only  willing  but  anxious  to 
say  and  do  nice  things  for  others. 
Notice  I  didn't  say  "for  everybody"? 
Mabel  is  not  that  much  of  a  humani- 
tarian. She  has  a  few  very  choice 
enemies,  but  so  has  everybody  else 
who  has  enough  strength  of  character 
to  have  made  any  friends.  Mabel  is 
against  those  enemies  and  for  her 
friends.  And  she  has  the  right  slant 
on  some  of  the  egomaniacs. 

I  was  interviewing  her  once  when 
she  suddenly  stopped  talking  about  the 
mental  basis  of  comedy,  which  was  the 
topic  under  discussion  at  the  time, 


and  called  my  attention 
to  another  woman  star 
who  had  just  entered  the 
restaurant  in  which  we 
were  sitting. 

"She  and  I  were  ex- 
tras togj|ter  once,"  she 
said,  "a^Q  believe  it  or 
not,  after  she  got  a  job 
as  leading  woman  she 
began  to  upstage  me. 
Oh,  yes,  indeed. 

"She  didn't  hurt  my 
feelings  any,  but  I  hated 
to  see  her  make  such  a 
monkey  of  herself. 

"So  one  day  when  we 
met  in  a  roomful  of  peo- 
ple and  she  pulled  this 
high-brow  air  and  drawl 
on  me,  all  I  said  to  her 
was : 

"'You  don't  seem  to 
remember  me  very  well, 
do  you  ?  Well,  can't  you 
remember  when  you  and 
I  were  bathing  girls  to- 
gether and  you  used  to 
borrow  my  shirt?' 

"Maybe  it  wasn't  a 
nice  thing  to  say,  but  it 
woke  her  up.  No,  it 
wasn't  original  with  me. 
I  got  it  from  Mae  Busch. 
It's  the  line  that  Mae 
has  used  to  puncture 
many  a  balloon." 


•J  "Mary  Miles  Minter  was  asleep  and  the  servant 
that  admitted  me  would  not  awaken  her.  I 
waited  one  hour  and  a  half,  but  after  her 
mother  came  in  the  room  she  brought  down 
Mary  in  a  hurry." 


1  DON'T  know  how  manv  interviews 
I  have  done  with  Mabel  Normand, 
and  I  don't  know  how  many  I  have 
done  with  Polly  Frederick  (nobody 
who  knows  her  would  dream  of  call- 
ing her  Pauline),  but  I  do  know  that 
until  now  I've  never  set  down  the 
most  interesting  thing  that  either 
of  them  ever  told  me.  And  that  is 
that  both  of  them  swore,  and  when 
I  say  swore  I  mean  swore,  that  if 
I  ever  wrote  anything  about  how 
much  they  did  for  other  people  they 
never  would  speak  to  me  again ! 

You  see,  I  had  heard  in  this  quarter 
and  in  that  stories  of  their  kindness, 
not  only  financial  kindness,  but  per- 
sonal, helping  hand  kindness  to  any 


number  of  the  boys  and  girls  who 
needed  help.  I  figured  that  it  might 
be  a  good  idea  to  do  a  Lady  Bounti- 
ful interview  with  them,  with  either 
of  them  or  both,  but  there  was  nothing 
doing.  Yet  I  have  read  interviews 
with  other  stars  who  lightly  dropped 
hints  of  princely  benefactions  of  one 
kind  and  another  and  interviews  with 
other  stars  who  did  not  drop  the  hints, 
but  sat  down  and  wrote  out  the  names 
and  the  amounts.  And  if  I  had  added 
all  those  amounts  together  they  would 
not  have  equaled  the  sums  of  money 
that  Mabel  and  Polly  have  thrown 
upon  the  waters. 

Polly  cried  once  because  I  wouldn't 
let  her  buy  me  a  $100  hat  and  Mabel 


 MMr  


36 


tried  to  make  me  take  a  diamond  ring. 
Some  day  when  I'm  hungry  I  may 
regret  that  I  didn't  let  Polly  give  me 
a  restaurant.  She  did  give  one,  or 
rather  the  money  with  which  to  start 
one,  to  a  fine  young  chap  in  whose 
business  career  she  became  interested. 

Petrova  gave  me  a  book  of  poems 
once.  She  would  have  given  me  a 
dozen  had  I  let  he*.  She  has  plenty 
more.  She  wrote  them  herself.  But 
much  as  I  have  enjoyed  the  poems 
since,  I  have  liked  none  of  them  better 
than  I  liked  one  line  that  she  spoke 
to  me"  on  the  afternoon  when  she 
handed  me  the  volume. 

It  was  back  in  the  days  when  every- 
body around  the  studio  had  to  call  her 
"Madame,"  back  when  she  had  a  car- 
pet laid  for  her  from  her  dressing 
room  to  the  set,  back  in  the  days  when 
as  a  poseur  she  could  give  Nazimova 
half  a  block  start  and  beat  her  a  block. 

"Madame,"  breathed  I 
respectfully,  "do  you  find 
that  your  work  is  ade- 
quate compensation  for  the 
labor  you  put  into  it  or 
do  you  sometimes  sigh 
for  the  footlights  again?" 

She  of  the  most  won- 
derful figure  that  ever  has 
.been  in  pictures  looked  at 
me  keenly  for  the  shadow 
of  a  second. 

"Suppose  we  don't  bunk 
ourselves?"  she  asked. 
"Don't  you  think  there's 
enough  bunk  in  this  busi- 
ness as  it  is?" 

I  thought  there  was.  I 
said  what  I  thought  and 
we've  been  real  friends 
ever  since. 

Petrova  never  was  re- 
markable for  her  excessive 
consideration  of  others,  but 
she  was   such  a  shrewd 
business  woman  that  she 
never  permitted  her  disre- 
gard for  those  others  to  in- 
terfere with  her  determina- 
tion to  enlist  the  interest  of 
people   that   she  needed. 
She  never  snubbed  anybody 
who  could  be  of  the  least 
possible  use  to  her,  and 
when   she   wanted  to  be 
friendly  she  could  be  very  friend-  Q 
ly.     Even  people  who  thought 
that   her   thoughtfulness  where 
they  were  concerned  was  the  re- 
sult of  calculation  rather  than  of 
impulse  had  to  admit  that  she- 
was  thoughtful  when  she  wanted 
to  be. 


Hollywood  ScREENLAND  Caii£*»i» 


interview  the  young  lady.  I  had 
talked  to  her  on  the  telephone  the 
day  before  and  she  herself  had  set 
the  hour.  I  was  at  the  house  at 
the  time  when  she  had  said  that  it 
would  be  best  to  be  there  and  there 
I  sat  for  one  hour  and  a  half. 
She  was  asleep. 

The  servant  that  admitted  me  would 
not  call  her  and  it  was  not  until  after 
her  mother  came  into  the  room  that  I 
got  a  chance  to  communicate  with  the 
star.  Mary  does  what  her  mother  tells 
her  to  do  and  as  her  mother,  like  most 
mothers  whose  daughters  have  been 
on  the  stage,  has  a  fair  idea  of  the 
value  of  publicity,  she  brought  Mary 
down  in  a  hurry,  but  my  point  is  that 
Mary  should  have  kept  the  engage- 
ment herself. 

If  the  former  chorus  girl  of  Ruth 
Hale's  story  ever  asked  Mary  Miles 
Minter:  "Dearie,  ain't  you  ever  com- 


moving-picture  star  ever  got.  Natu- 
rally enough,  she  likes  her  own  handi- 
work and  Mary  likes  it,  and  if  the 
parties  of  the  other  part,  the  produc- 
ers who,  under  the  contract,  pay  Mary 
a  great  deal  of  money,  are  not  quite 
so  infatuated  with  the  terms  of  the 
agreement  their  lack  of  enthusiasm 
does  not  prevent  them  from  handing 
Mary  the  checks  as  they  become  due. 

This  interviewing  life  would  be  a 
great  life  if  they  were  all  as  nice  as 
May  Allison.  She  does  not  let  the 
interviewer  do  all  the  work.  She  has 
ideas  and  knows  the  English  language 
well  enough  to  be  able'  to  express 
them,  and  she  is  so  genuinely  inter- 
ested in  people  that  to  sit  and  talk  to 
her  or  listen  to  her  is  a  delight. 

She  told  me  how  proud  she  was  of 
her  husband  when  he  told  the  servants 
that  they  had  to  stop  calling  his  wife 
"Miss  Allison"  and  begin  to  call  her 
"Mrs.  Ellis." 

"He's  a  regular  man," 
she  said. 

She  knows  that  a  mov- 
ing-picture star  can't  get 
any  farther  without  pub- 
licity than  a  fish  can  with- 
out water,  and  even  if 
she  had  not  found  this 
out  for  herself  her  hus- 
band could  have  told  her, 
for  before  he  became  a 
leading  man  and  a  director 
he  was  a  newspaper  re- 
porter in  New  York.  Yet 
another  star  whose  hus- 
band also  was  a  reporter 
does  not  seem  to  have 
learned  the  secret. 

Mae  Marsh  has  about 
her  own  importance  ideas 
that  are  not  shared  by 
everybody.  I  know  they 
are  not  shared  by  me. 
Mind,  I  don't  say  that  she 
is  not  a  clever  actress. 
There  are  few  women 
—  or  men  either  — -  who 
could  have  been  with  Grif- 
fith as  long  as  she  was  and 
not  have  learned  something, 
but  what  I  mean  is  that  she 
is  not  quite  so  overwhelm- 
ingly wonderful  that  she 
should  put  on  airs. 

"I  realised  the  greatest  ambition  of  my  life  I  happened  to  be  on  the  set  one 
when  I  became  Douglas  Fairbanks'  leading  Sunday  when  she  was  working  in 
woman,  was  all  that  Marguerite  DeLa  Motte  a  scene  with  Eulalia  Jensen  and 
would  say.    Site  seemed  to  have  forgotten     several  others.    Neither  the  direc- 


M. 


.ARY  MILES  MINTER  could 
learn  a  lot  of  Petrova. 

Once  at  considerable  inconvenienc 
to  myself  I  went  out  to  the  Minter 
establishment  in  Beverly  Hills  to 


nearly  ci'erything  else  that  she  knew." 

mon?"  she  would  still  be  waiting  for 
the  answer.  Mary  Miles  Minter 
would  not  remain  in  the  same  room 
with  such  terrible  talk.  Her  sister  is 
a  much  more  human  person  and  the 
mother  is  a  treat.  Mrs.  Shelby  has  to 
her  credit  the  negotiation  for  Mary 
of  one  of  the  best  contracts  that  any 


tor  nor  Miss  Jensen  nor  any  of 
the  others  wanted,  to  be  there  any 
more  than  Miss  Marsh  did,  but  to 
hear  her  complain,  I  thought  that  she 
regarded  this  shooting  on  Sunday  as 
a  hardship  aimed  directly  at  her.  She 
kept  saying: 

"But  I  don't  feel  this  scene.  If 
Mr.  Griffith  were  directing  me  and 
(Continued  on  page  62) 


luiyvool  ScitEENLANI)  caii£«.i> 


37 


5The  PICTURE  of  the  Month 


BLOOD 

& 


l^ECOMMENDING  a  photoplay 
to  persons  who  seldom  attend  a  pic- 
ture theatre,  whose  tastes  are  uncloyed 
by  the  muck  of  the  average  produc- 
tion, carries  greater  responsibilities 
than  making  the  picture.  Because  mis- 
takes of  an  author  or  director  are  for- 
given if  followed  by  a  triumph ;  but  a 
weather-vane  that  points  north  when 
the  wind  comes  from  the  south  will 
forever  after  find  its  reliability 
doubted  when  the  wind  blows  from 
the  south.  In  these  terms,  Blood  and 
Sand  can  be  compared  to  big  pictures 
of  past  months:  it  is  not  a  howling 
hurricane  but  a  spanking  thirty-mile 
breeze. 

The  biggest  thing  in  favor  of  it  is 
that  it  came  from  the  same  author  as 
The  Four  Horsemen  of  the  Apocalypse 
(V.  Blasco  Ibanez)  ;  the  next  most 
pleasing  fact  is  that  it  is  not  a  happy- 
ending,  kiss-and-fadeout  film.  Al- 
though worshippers  of  the  great  Ro- 


— Paramount 


dolf  Valentino  may  not  croon  with 
delight  at  the  tragic  climax,  it  can  be 
safely  recommended  for  non-playgoers 
to  cut  their  movie  teeth  on. 

The  billboards  will  inform  you  of 
breathless  scenes  of  bullring*encoun- 
ters.  You  will  not  be  disappointed  in 
these  scenes.  They  are  vivid.  A  real 
arena  (Mexico  City),  earnest  beasts 
and  Valentino  actually  functioning  as 
a  matador  before  a  huge,  cheering  gal- 
lery provides  color  and  novelty.  This 
is  the  setting  in  which  the  author  has 
thrust  an  obscure  Spanish  youth  with 
a  gift  for  bull-fighting,  who  becomes 
intoxicated  by  sudden  fortune  and  the 
plaudits  of  sycophants  and  is  drawn 
to  ruin  and  death  by  a  destructive 
passion. 

Juan  Gallardo  (Valentino),  the  dar- 
ing matador,  takes  a  modest  bride  in 
the  dawn  of  his  fame.  In  the  full 
glare  of  his  career  he  is  consumed  by 
a  tragic  infatuation  for  a  queenly  en- 


5  Jp  you  have  never  seen 
a  motion  picture  or  if 
you  have  wished  to 
never  see  another,  we 
recommend  this  page 
to  your  attention  each 
month. 


amorada.  In  learning  the  torture  of 
loving  two  women,  he  will  delight  all 
modernists  when  he  pleads : 

"Mi  querida!  You  do  not  under- 
stand that  in  a  man's  life  there  is 
sometimes  a  good  love  and  a  bad 
love!" 

The  modernist  will  not  find  so  much 
consolation  in  certain  aphorisms  that 
appear  in  sub-titles.  For  instance: 

"Impure  love,  like  a  flame,  burns 
out  and  leaves  nothing  but  embers  of 
disgust  and  regret." 

"Woman  was  created  to  bring  hap- 
piness to  man.  Instead,  she  destroyed 
the  tranquility  of  the  world." 

Through  the  ages,  the  inhumanity 
of  man  has  produced  misery  and 
tragedy.  So  the  theme  of  the  story  is 
aimed  at  the  cruelty  of  the  arena. 
And  the  inhumanity  of  man  bows  to 
Divine  decree  when  Gallardo,  de- 
stroyed in  the  bull-ring,  dies  in  the 
arms  of  his  forgiving  bride. 


n°>JywooA  SCREENL&ND  Cai»fi»» 


Little  HINTS 


LAYQOERS 


MFOR  RENT. — HAUNTED — Pa  the 
OTHERS  with  movie-mad  offspring  may 
well  throw  up  their  hats  in  glee  at  the  advent  of 
another  producer  in  the  field  of  domestic  come- 
dies. Johnny  Jones,  in  his  juvenile  two-reelers, 
which  mingle  heart-interest  with  smiles,  fills  a 
long-felt  want.  You  can  safely  park  the  kids 
at  the  movies  when  one  of  his  pictures  is  on 
the  bill.  This  first  one  is  a  demi-tasse  heart- 
document,  with  its  childhood  appeal  that 
reaches  grown-ups  and  children  alike.  An  im- 
possible little  story— but  it  pulls  the  strings 
iround  the  good  old  pumper. 


(Below)— 

— .  ONE  CLEAR  CALL— First  National 

1  HE  old  skeleton  of  the  Klu  Klux  Klan  is  dragged  from  its 
closet  in  this  latest  John  M.  Stahl  opus.  But  with  such  splendid 
work  by  Milton  Sills  and  Henry  B.  Walthall  we  are  inclined  to 
forgive  the  rat'.llng  of  its  bones.  Milton  Sills  even  goes  so  far  as 
to  reveal  that  he  can  ACT — a  thing  we  hadn't  suspected  before. 
For  his  feminine  adornment,  Mr.  Stahl  apparently  made  one  clear 
call  on  the  casting  department — Claire  Windsor,  Irene  Rich,  Doris 
Pawn  and  Shannon  Day.    Quite  an  acceptable  eyeful! 


!/ 


(Above) — 

.  GOLF— Vitagraph 

IF  you  are  a  little  off  your  game,  Larry  Semon 
can.  show  you  some  of  the  boundless  (as  well 
as  bounding)  possibilities  of  the  gutta  percha 
pill.  Two  reels  of  good  gags  and  a  pretty  lead- 
ing woman  (Lucille  Carlisle)  make  comedy  of 
the  good,  old,  tried  and  proven  variety. 


i 


Hoiiy~ooa.  SCREENLAND  cu&» 


39 


(Left)— 

.  ROSE  O'  THE  SEA— Mayer- First  National 
/\n!TA  STEWART  must  have  rejoiced  when  the 
fade-out  came — we  did.  A  Countess  Somebody  wrote 
the  story.  Having  seen  it,  we  welcome  all  the  high 
school  writers.  Anita  is  so  good  an  actress  that  it 
is  a  shame  to  waste  her  talents  on  inferior  material  as 
they  have  been  wasted  the  past  year.  This  melo- 
drama is  even  terrible  as  a  farce. 


(Right)— 

q  THE  BONDED  WOMAN— Paramount 
IJETTY  COMPSON,  with  the  aid  of  two  good 
leading  men— Richard  Dix  and  John  Bowers — does 
her  best  with  an  inadequate  yarn,  concerning  the 
sea,  that  dribbles  away  to  nothing.  The  attempt 
in  the  subtitles  to  effect  deep,  blue  vernacular  Is 
positively  painful,  even  to  a  landlubber.  Some 
good  fight  action  and  a  few  convincing  water 
scenes  help  salvage  It  all. 


(Below)— 

,v»  THE  DICTATOR 

W  ALLIE  REID,  in  a  role  that  fits  him  as  if  Richard 
Harding  Davis  had  made  it  to  order  for  him — a  rich 
man's  son  with  a  head  of  his  own.  Walter  Long, 
champion  screen  villain,  is  a  figure  you  will  remember 
in  a  comedy  part.  Being  Richard  Harding  Davis,  of 
course  it's  a  tale  of  bon  vivas  and  banana  revolu- 
tions.   This  is  a  movie  almost  anybody  will  like. 


-  _  SONNY— Pirst  National 

IVlOTHER  MACHREE  again,  but  from  a  new  angle. 
This  mother  gets  an  imitation  son  who  poses  as  her  own 
boy — but  that  doesn't,  interfere  with  the  spotlight's  halo. 
The  war  scenes,  while  old  stuff,  are  well  handled  and 
the  naturalness  of  Richard  Barthelmess  makes  one  accept 
the  sentimental  flashes  as  incidental  to  a  good  picture. 
And  while  we're  handing  the  conventional  bouquet  to 
Pauline  Garon,  the  flapper,  let's  present  a  whole  garden 
to  Patterson  Dial,  the  rather  plain  girl  whose  sincere 
portrayals  are  gems  worth  watching  for  In  all  the 
Barthelmess  plays. 


40 


TNICE  PEOPLE— Wm.  deMllle  Special 
HE  peccadillos  of  the  idle  rich:  flasks,  flap- 
pers and  fashion,  when  done  by  a  deMllle,  are 
always  entertaining.  This  picture  Is  no  excep- 
tion. But  It  would  have  helped  had  not  Wallace 
Reid  been  dragged  in  to  depict  an  impossible 
—for  him — characterization.  The  screen.  Wallie 
Is  certainly  not  the  type  to  reform  fast  young 
daughters  of  the  rich.  The  usual  profligate 
deMille  array  of  popular  players  greet  you  In 
various  guises.  "Nice  People,"  of  course,  mean* 
that  they  aren't. 


GTHE  PRIMITIVE  LOVER— First  National. 
IVE  Constance  Talmadge  about  six  changes  of  wardrobe 
— including  slippers  and  hosiery — and  she  can't  help  scin- 
tillating. Here  she  is  her  usual  spontaneous  self  and  as 
long  as  Connie  is  around  who  cares  if  they  have  given  her 
a  plot  with  a  beard?  The  picture  has  moments  of  exquisite 
satire.  With  his  strong  right  he-arm,  Harrison  Ford  tames  a 
very  modern  and  exceedingly  lovely  shrew  and  seems  to 
get  so  little  pleasure  out  of  his  job  that  all  the  boys  will 
want  to  take  it  away  from  him.  But  we  wouldn't  advise 
anybody  to  try  his  methods  In  everyday  life.  Girls  aren't 
tamed  so  easily  nowadays! 


THE  TOP  OF  NEW  YORK 

T Paramount 
HE  appearance  of  likeli- 
hood, so  necessary  to  command 
serious  Interest  In  serious 
drama,  is  remote  in  this  to  the 
point  of  Invisibility.  May  Mac- 
Avoy  deserves  something  better 
than  a  synthetic  story.  A  preda- 
tory department  store  owner,  a 
lady-killing  floorwalker,  a  rich 
artist  with  a  motherless  child — 
alas,  we  know  them  too  well. 
But  you  should  see  the  Califor- 
nia bungalow  on  the  top  of  a 
New  York  tenement  —  that,  at 
least,  is  something  different. 


THE   HALF  BREED— First 

„  National 
On  a  Figure- Eight  plot  this 
scenic  railway  invades  Mexico 
with  many  a  jump  and  dip. 
Hold  onto  your  hat  and  you 
may  get  a  kick  out  of  the 
chill -con -came  actors.  Very 
exciting — if  you  can  believe  It. 
Mary  Anderson  is  the  paprika, 
pippin  and  Wheeler  Oakman 
Is  the  gentleman -who-fights. 
Plenty  of  pep— but  it  leaves 
you  wondering  what  it  was  all 
about. 


oajywooA  Screen  land  cug™* 


41 


&ffe 


I 


IF  YOU   BELIEVE  IT,  IT'S  SO— Para- 
mount 

A  plausible,  well-knit,  wholesome  story 
with  Thomas  Melghan  cast  in  a  role  simi- 
lar to  his  hit  In  "The  Miracle  Man."  You 
can  expect  picturesque  things  of  a  re- 
formed crook,  especially  when  he  Is  in 
love  with  an  earnest  country  maid,  such 
as  Pauline  Starke.  Clear-cut  character- 
izations, In  suitable  harmony  to  their  en- 
vironment, abound  In  this  picture.  Joseph 
Dowllng,  Theodore  Roberts  and  Clarence 
Burton  are  especially  picturesque.  The 
sure  strokes  of  some  studio  O.  Henry  are 
apparent  In  the  presentation,  too. 


THE  GILDED  CAGE— Para- 

H mount 
ERE  is  a  feeble  myth  that 
reveals  its  destination  in  the 
first  reel.  Splendorous  sets, 
beautiful  costumes  and  Gloria 
Swanson  rescue  it  from  the  im- 
possible. Which  is  just  exactly 
what  those  elements  are  sup- 
posed to  do.  A  shapely  girl  in 
tights,  tumbling  from  a  trapeze 
into'  a  bed  of  feathers  concealed 
on  a  banquet  board,  substitutes 
for  dramatic  interest.  Great  stuff 
for  tired  business  men — and  their 
daughters  who  pattern  after  the 
•xotic  Gloria's  costumes. 


THE  CROSSROADS  OF  NEW 
p.  YORK— First  National 
EMERGING  from  his  robes  of 
clown,  Mack  Sennett  has  produced 
here  a  crashing  melodrama -bur- 
lesque. If  In  Instances  It  crashes 
too  much  and  the  tempo  breaks, 
who  cares?  With  the  cast  appar- 
ently registering  let-the-chlps-fall- 
where-they-may,  we  have  n.o  cause 
foj*  complaint.  It  Is  good  enter- 
talnment.  George  O'Hara  Is  the 
boy  who,  despite  bearing  upon  his 
shoulders  the  hardships  and  tribu- 
lations gathered  from  Ye  Hero's 
melodramatic  past,  keeps  to  the 
straight  and  narrow,  with  Kathryn 
McGuire  acting  prettily  as  his  com* 
pass. 


42 


Ufe"""*  SCREENLAND  CiiA-a* 


WHILE  SATAN  SLEEPS — Paramount 


IF  they  keep  on  handing  Jack  Holt  two- 
fisted,  high-proof  westerns  as  good  as 
this  Peter  B.  Kyne  one,  Bill  Hart  will 
wake  up  some  morning  and  find  himself 
on  a  shelf  beside  the  dodo  bird.  There 
isn't  much  estheticism  In  the  average 
Kyne  story  and  none  In  this;  but  It  is 
crowded  with  action  and  hairy-chested 
drama,  smoothly  cast  and  presented.  The 
Pick  and  Drill  saloon  scenes  are  as  nearly 
convincing  as  censorship  allows.  A  sa- 
loon is  a  useful  thing  in  a  movie  because 
the  comparative  degree  of  villainy  can  be 
so  easily  established  by  the  number  of 
drinks  the  bad  ones  take. 


BORDERLAND — Paramount. 


/Although  it  isn't  in  the 

"don't  miss  it"  class,  this  is 
better  than  the  recent  average 
of  plays  in  which  Agnes  Ayres 
has  appeared.  The  star  plays  a 
dual  role  and  occupies  prac- 
tically every  scene  —  creditably 
enough. 

Playgoers  with  firmly  planted 
theological  beliefs  may  resent 
the  elemental  and  very  dull  con- 
ception of  a  hereafter  which  is 
the  background  of  this  rather 
somber  offering.  But  moralists 
may  find  it  sound.  The  tempta- 
tions that  beset  a  young  and  at- 
tractive wife,  uncongenially  wed, 
supply  the  theme.  The  moral,  of 
course,  is  to  stick  to  the  old 
guy.   How  deliciously  antique! 


BROTHERS  UNDER  THE  SKIN— 
Goldwyn 

PetER  B.  KYNE'S  prescription 
for  perfect  marital  bliss,  "Treat  'em 
rough  and  tell  'em  nothing,"  fur- 
nishes six  reels  of  chuckles,  with 
enough  of  truth  underlying  the 
comedy  to  make  the  picture  worth 
while.  "Brothers  Under  the  Skin" 
is  the  sort  of  picture  that  sends 
the  audience  out  with  a  reminis- 
cent grin,  forgetful  for  a  while  that 
rent  day  is  impending  and  the  coal 
not  in.  Pat  O'Malley  and  Norman 
Kerry  as  the  henpecked  husbands 
who  finally  regain  their  wives'  love 
and  respect  by  taking  a  lesson  from 
the  cave  man,  give  excellent  char- 
acterizations. Helen  Chadwick  as 
the  slangy,  extravagant  wife  of  a 
shipping  clerk  has  more  chance  to 
register  than  has  Claire  Windsor 
as  the  general  manager's  equally 
extravagant  bride.  Mae  Busch  is 
extremely  vampish  as  the  apart- 
ment house  pest,  the  predatory 
divorcee. 


SCREENIAND  <Mi£~»- 


43 


5 In  this  concluding 
installment  is  solved 
the  mystery  of— 


PIRATE 


A  Story  by  the  STARS 


T 

AH 


CHAPTER  NINE. 
The  Tide  of  Battle. 


_HE  deck  of  the  Stingaree,  the  little 
vacht  that  lay  at  anchor  close  to  the 
Wasp,  seemed  to  be  swarming  with 
men  engaged  in  a  desperate  hand-to- 
hand  struggle.  To  the  astonished 
gaze  of  Truesdale  there  appeared  to 
be  a  score  of  them,  wrestling,  striking 
at  one  another  fiercely  or  rolling  on 
the  deck  in  combat.  Twice  he  heard 
the  crack  of  revolvers  and  as  he 
rushed  down  to  the  shore,  he  saw  two 
or  three  men  in  the  water,  swimming 
desperately  toward  the  Wasp. 

And  as  he  reached  the  water's  edge, 
where  he  gained  a  closer  view  of  the 
amazing  spectacle,  he  was  startled  to 
discern  Vera  Shelby  and  Eleanor 
Francis  on  the  deck  of  the  Wasp, 
clinging  to  one  another  in  obvious  ter- 
ror. A  cackling  laugh  close  beside 
him  startled  the  actor  as  he  stared.  He 
had  forgotten  old  Goff,  who  was 
crouched  on  the  sand,  pointing  off  at 
the  battle  on  the  Stingaree. 

"Old  Goff  did  that,"  he  said.  "They 
didn't  count  on' me— he,  he!  I  stole 
the  boat  for  the  big  man, and  showed 
him  where  they  were!  Old  Goff 
knows  what  he's  doing !  He,  he !  See 
'em  fight !" 

"Why,  it's  Grattan— and  Lee— and 
the  rest  of  the  boys!"  Truesdale 
shouted  as  he  suddenly  made  out  the 
members  of  his  own  organization 
among  the  struggling  men  on  the 
yacht.  "How  can  I  get  out  there? 
I  want  to  help!  Is  there  another 
boat?" 

The  old  fellow  cocked  his  head  on 
one  side  as  though  considering  whether 
he  should  trust  Truesdale  with  a  se- 
cret. Then  he  nodded  and  began  to 
move  stealthily  across  the  sands  in  a 
half-crouching  position,  beckoning  to 
the  actor  to  follow  him. 

Truesdale  took  one  more  look  sea- 
ward. The  swimmers  had  reached  the 
side  of  the  Wasp  and  were  beginning 


IJSy  the  time  the  gentle  reader 
has  proccded  thus  far  in  this 
veracious    chronicle    of  pulse- 
quickening  events,  it  will  un- 
doubtedly be  apparent  that  it  is 
much  simpler  to  tie  knots  in  a 
plot  than  it  is  to  unravel  one. 
When  I  launched   this  movie 
mystery  there  seemed  to  be  com- 
paratively plain  sailing  ahead  to 
port  in  the  final  chapter.  But 
the  unsuspected  literary  talents 
of  my  distinguished  collabora- 
tors (Betty  Compson,  Thomas 
Meighan  and  Eddie  Sutherland) 
have  gummed  the  compass,  so 
to  speak,  and  now  I  will  have  to 
steer  by  the  stars — that  is,  I 
am  obliged  to  handle  a  bunch 
of  ''extras"   they  have  added 
to  the  cast  and  gather  up  loose 
ends  they  have  tossed  around 
haphazard.     Well,  it  might  be 
worse. 

FRANK  X.  FINN  EGA  N. 


to  climb  aboard.  Did  their  coming 
mean-  new  dangers  for  the  two  ter- 
rified girls  on  the  deck  or  were  they 
members  of  the  motion  picture  outfit, 
escaping  from  the  desperadoes  on  the 
Stingaree?  The  question  leaped  to 
the  front  of  Truesdale's  mind,  bring- 
ing an  agony  of  doubt ;  but  he  had  no 
way  of  deciding  it,  and  he  turned  to 
hasten  after  the  strange,  half-witted 
creature  who  had  thus  far  served  him 
so  well. 

Old  GOFF  led  the  way  along  shore 
to  where  a  rocky  phomonotory  formed 
a  little  cove  as  its  base  threw  a  pro- 
tecting arm  about  an  opening  in  the 
shore  line.  The  old  man  disappeared 
from  sight  around  this  bend  and 
Truesdale,  following  in  his  footsteps 
a  few  moments  later,  discovered  him 
tugging  at  a  dugout  canoe,  fashioned 
from  a  log,  which  had  been  beached 
well  above  the  tide  line. 


"Old  Goff  has  a  boat,"  he  chuckled 
as  the  actor  lent  him  a  vigorous  hand 
in  getting  the  frail  craft  down  toward 
the  water.  "They  don't  know  it — but 
I'll  get  even  with  Gonsalves.  I'll  take 
you  out  to  the  fight." 

Fortunately  the  sea  was  quiet  and 
they  had  no  difficulty  in  launching  the 
dugout.  Each  seized  a  paddle  and 
vigorous  thrusts  carried  them  beyond 
the  line  of  swells  and  out  toward  the 
Stingaree.  As  they  approached,  Trues- 
dale was  quick  to  observe  that  the 
situation  aboard  Gonsalves'  yacht  had 
wholly  changed.  The  battle  appeared 
to  be  over  and,  to  his  delight,  it  was 
evident  that  the  motion  picture  people 
were  the  victors. 

Up  forward  he  saw  four  or  five  men 
in  a  group,  standing  with  upraised 
hands  and  thoroughly  cowed  by  several 
armed  men,  the  leader  of  whom  he 
made  out  to  be  Captain  Hansen. 
Amidships  Grattan  stood,  revolver  in 
hand,  in  front  of  Gonsalves  while  two 
men  dexterously  bound  the  arms  of 
that  swashbuckler. 

Glancing  at  the  Wasp,  twenty  feet 
astern,  Truesdale  saw  that  the  three 
swimmers  were  aboard,  and  as  Vera 
and  Eleanor  had  joined  them  in 
watching  the  proceedings  on  the  other 
yacht  it  was  evident  that  all  was  well 
there — they  were  members  of  the  pic- 
ture company. 

The  old  man  brought  the  little 
canoe  alongside  the  Stingaree  and 
held  it  fast  while  Truesdale  clambered 
aboard.  So  engrossed  had  the  com- 
pany on  the  deck  been  with  their  own 
matters  that  none  of  them  had  given 
him  more  than  a  glance  until  then. 
But  as  he  climbed  over  the  rail  and 
approached  Grattan,  the  swarthy  pris- 
oner glowering  before  the  director's 
revolver  started  in  new  anger. 

"Aha !  He  is  here — the  great  hero !" 
he  exclaimed,  glaring  at  Truesdale. 
"Ask  him!  Ask  him  is  it  not  truth  I 
tell  you  that  he  was  to  be  the  hero  of 
this  great  adventure!  Ask  Captain 
Hansen  what  this  hero  told  him  in 


+4 


the  ship  chandler's  at  San  Pedro  be- 
fore you  sailed!" 

Truesdale  stopped  in  confusion, 
glancing  from  the  irate  Gonsalves  to 
the  stern  face  of  the  director. 

"What  is  this  Truesdale?"  Grattan 
demanded.  "This  man  says  you  pro- 
posed some  kind  of  a  fool  plot  to  Cap- 
tain Hansen  back  in  the  city — that  he 
was  to  abandon  us  on  the  island  and 
you  were  to  recapture  the  Wasp  and 
pose  as  a  hero.   How  about  it?" 

The   leading   man,    crimson  and 

stammering,  tried  to  explain.   But  the 

presence  of  Captain  Hansen,  grim- 
faced  and  level  of  eye,  held  him  to 

the  truth. 

"Well,  I  did  have  a  fool  notion  of 

playing  a  schoolboy  trick  when  we  got 

down  here,"  he  admitted,  "but  the 

captain    wouldn't  have 

anything  to  do  with  it." 
"He  wanted  to  be  the 

hero  in  the  eyes  of  Miss 

Shelby,"  interrupted 

Gonsalves..   "I  heard  it 

all  —  he  was  foolish 

enough  to  talk  as 

though  they  were  alone. 

'I  pay  you  well,'  he  tells 

the  captain,  'if  you  let 

me   caoture  the  yacht 

and  bring  you  back  to 

the  ,  island    after  they 

think  you  have  left  them 

to  starve.'  Ah,  yes !  He 
is  one  great  hero,  this 
pretty  actor !" 

"That's  enough  from 
you !"  Grattan  ordered 
curtly,  and  the  prisoner 
relapsed  into  silence. 
Leaving  the  men  of  Gon- 
salves, outfit  under 
guard  of  Tom  Lee,  Ste- 
venson and  several  of 
the  others  of  the  motion 
picture  crew,  Grattan 
called  Truesdale  and 
Captain  Hansen  aside 
for  a  conference. 


it.  Then  we  played  into  his  hands 
with  our  beach  supper  party  and 
Vera's  idea  of  staying  on  the  island 
overnight.   The  rest  was  easy." 

"They  had  no  trouble  in  capturing 
the  Wasp,"  Captain  Hansen  said. 
When  they  came  aboard  we  thought 
it  was  some  of  you  fellows  coming 
back  until  we  looked  into  their  guns. 
Then  they  towed  the  Wasp  over  here 
and  put  us  all  aboard  their  yacht,  un- 
der guards." 

"How  did  you  rescue  them?  And 
who  took  Vera  to  the  Wasp?"  Trues- 
dale  eagerly  inquired,  looking  off  to 
where  he  could  see  the  girl  on  the 
other  boat. 

"That  old  half-witted  man  helped 
us  to  that,"  Grattan  returned.  "He's 
smarter  than  any  of  us— led  me  and 


I 


N  a  few  words  the 
captain  confirmed  what 
Gonsalves  had  said  and 
the  crestfallen  Truesdale 
admitted  all  the  truth. 

"I  can  see  now  what 
a  fool  idea  it  was,"  he 
said,  "but  of  course  I 
never  dreamed  things  would  go  this 
far.    I  wanted  to  make  a  hit  with 
V era— that's  the  first  and  last  of  it. 
Now  I'll  simply  leave  the  company — 
you  won't  want  me  around  after  this." 

"We'll  see  about  that  later."  Grat- 
tan said.  "Evidently  this  fellow  Gon- 
salves. when  he  overheard  your  fool 
suggestion,  saw  how  easy  it  would 
be  to  adbuct  Vera  and  pull  off  this 
coup  with  his- gang  and  decided  to  try 


<$  She  gazed  -wistfully  toward  the  Wasp. 

Posed  by  Betty  Compson. 

the  boys  down  here  and  had  two 
boats  for  us  at  just  the  right  moment. 
He  knocked  the  head  off  a  fellow 
who  was  guarding  Vera  just  as  Gon- 
salves went  aboard  here — I'll  tell  you 
about  it  some  other  time.  The  ques- 
tion now  is  what's  to  be  done  with 
these  birds." 

"If  you'll  excuse  me  makin'  the 
suggestion,  Mr.  Grattan,"  the  captain 
hastily  interposed,  "I  can't  see  any 


sense  in  anything  but  turnin'  'em  loose, 
now  that  we're  all  safe  an'  sound 
again.   If  this  Gonsalves  will  agree  to 

take  his  gang  away  on  his  yacht  " 

"You're  right,"  Grattan  said  de- 
cisively. "We  have  a  picture  to  make 
and  we  have  neither  time  nor  men  t< 
guard  a  lot  of  pirates  and  bring  the 
back  to  the  mainland  for  trial.  B 
sides,  we  wouldn't  cut  a  very  g_ 
figure  at  any  trial,"  he  added,  with 
glance  at  Truesdale. 

"The  publicity  would  be  my  finish ! 
the  leading  nian  exclaimed  as  h 
visualized  the  unwelcome  headlines  i 
the  newspapers. 

"I  guess  you've  been  punishe 
enough — or  you  will  be  when  Ver; 
hears  the  whole  story,"  Grattan  re 
turned.  "I'll  put  it  up  to  Gonsalve 
as  though  it  was  a  fa 
vor — we'll  let  him  go  i 
he'll  clear  out  of  here.' 

And  he  strode  over  t 
where  the  swarthy  pris 
oner  was   fuming  an 
swearing  at  the  universe 
in  general. 


CHAPTER  TEN. 

Under  the  Moon. 

It  did  not  take  Gon- 
salves long  to  decide  to 
accept  Grattan's  offer 
and  half  an  hour  later, 
as  the  still  face  of  the 
ocean  was  lighted  by  the 
sunset's  afterglow,  all 
the  members  of  Grat- 
tan's company  had  been 
ferried  across  to  the 
Wa  s  p  and  Gonsalves 
was  sailing  away  on  the 
Stinparee  with  his  dis- 
gruntled gang  of  raiders. 

Vera  had  been  in- 
formed by  the  director 
of  Truesdale's  connec- 
tion with  her  startling 
adventures  and  after 
the  first  shock  of  indig- 
nation and  resentment, 
she  accepted  Grattan's 
suggestion  that  Trues- 
dale be  forgiven  and  re- 
ceived by  the  company 
on  his  former  standing. 
"He's  only  a  big  boy," 
the  director  said,  "and  I'm  sure  the 
way  this  foolish  idea  of  his  turned  out 
has  suddenly  made  a  man  of  him. 
He's  sunk  in  repentance — so  much  so 
that  he  won't  even  look  in  your  direc- 
tion— and  we  can't  afford  to  ruin  his 
future  by  turning  on  him." 

"That's  like  you,  Mortimer,"  she 
replied.  "You  always  look  at  things 
in  such  a  big  way." 

"And  don't  forget  that  his  idea 


was  to  shine  in  your  eyes,"  Grattan 
nterposed  with  a  sly  smile. 

Vera  laughed,  but  the  suggestion 
was  not  lost  upon  her,  and  from  that 
moment  Truesdale  was  forgiven  in 
ler  heart.  A  sudden  thought  aided 
tier  in  changing  the  subject,  which 
was  becoming  a  shade  too  personal. 

"What  has  become  of  the  queer 
aid  man  who  helped  you  rescue  me?" 
she  queried. 

Grattan  gave  a  start  of 
surprise.  In  the  excitement 
that  had  accompanied  the 
rescue  of  Vera,  the  stealthy 
attack  on  Gonsalves  and  his 
gang  aboard  the  Stingaree 
and  the  battle  that  followed, 
he  had  wholly  forgotten  old 
Goff  and  the  girl  of  mystery, 
Dolores,  who  had  aided  him 
so  much  in  bringing  about 
the  victory. 

He  had  left  Dolores  in  her 
cave  home  in  the  hills  when 
he  set  out  with  her  father  on 
the  expedition  that  had  re- 
sulted in  the  restoration  of 
the  Wasp  and  all  of  his  com- 
pany. Now  that  the  stress 
and  strain  of  the  adventure 
was  all  over,  he  suddenly  real- 
ized that  he  wanted  to  see 
Dolores  again — that  he  de- 
sired to  talk  with  her  in  a 
quieter  mood. 

"Old  Goff !"  he  exclaimed  in 
response  to  Vera's  question. 
"I  don't  know  where  he  went 
after  he  brought  Truesdale 
out  to  the  Stingaree.  I  just 
got  a  glimpse  of  him  as  he 
paddled  up  to  the  side." 

"I  saw  him  going  back  to 
the  shore  in  his  funny  little 
boat,"  Vera  observed. 

"Then  I  must  go  ashore  and  hunt 
him  up  to  thank  him  for  all  he  did," 
the  director  declared.  "Why,  if  it 
hadn't  been  for  him  Gonsalves 
would  have  you  aboard  his  yacht  out 
there  on  the  ocean  somewhere  at  this 
minute." 

He  was  about  to  turn  hurriedly 
away,  eager  to  start  on  his  quest  be- 
fore darkness  would  bar  him  from 
searching  for  old  Goff's  cave,  when 
Vera  suddenly  pointed  landward. 

"Look!  There's  a  girl— and  she's 
signaling  to  us !"  she  exclaimed. 

Grattan  turned  quickly  and  saw 
Dolores  at  the  water's  edge,  gazing 
wistfully  toward  the  Wasp. 

"It's  Dolores !"  he  shouted,  and  be- 
fore Vera  Shelby  had  a  chance  to  ask 
who  the  mysterious  girl  could  be, 
whose  existence  on  the  island  she  had 
never  heard  mentioned,  the  director 
had  shouted  to  Captain  Hansen: 

"Have  that  young  lady  brought 


Screen  land 

aboard  at  once,  Captain,"  he  ordered. 
"It  was  through  her  and  her  father 
that  we  knocked  out  Gonsalves  and 
I'm  afraid  there's  something  wrong  or 
she  wouldn't  be  hunting  us  up !" 

Vera  joined  him  at  the  rail  while  two 
sailors  were  tumbling  into  the  small 
boat  and  as  they  rowed  away  Grattan 
hurriedly  told  her  the  weird  story  of 
the  girl  and  her  hapless  plight  on  the 
island  with  her  demented  father. 
"Why,  the  poor  girl!    How  ter- 


45 


"She's  a  mystery  girl,"  Tom  Lee 
told  him  in  reply  to  his  eager  queries. 
"Lives  here  on  the  island  with  her 
father — the  old  fellow  who  rowed  you 
out  here.  You'll  hear  all  about  her  in 
a  little  while.  Let's  see  what's  wrong 
now."  he  added  as  he  went  to  join  the 
little  group  where  Dolores  was  being 
taken  aboard  the  yacht. 


Hi 


fl  Grattan  turned  quickly  and  saw  Dolores  at 
the  water's  edge.        Posed  by  Thomas  Meighan. 

rible !"  she  exclaimed.   "What  can  we 
do  for  her,  Mortimer?'" 

"I  don't  know— we'll  see  when  we 
get  her  aboard.  But  we  must  do  some- 
thing," he  returned.  "We'll  be  here  a 
week  longer  on  this  picture  and  in 
that  time  we  may  be  able  to  induce 
her  to  come  back  to  civilization  with 
us.  It's  an  outrage  to  leave  her  here 
—with  Gonsalves  and  his  gang  hang- 
ing around." 

Truesdale  and  the  other  members 
of  the  company  who  knew  nothing  of 
the  presence  of  Dolores  on  the  island 
lined  the  rail  and  wonderingly  specu- 
lated on  her  identity  as  the  sailors, 
having  helped  her  into  the  boat,  rowed 
back  to  the  Wasp.  The  big  leading 
man.  shamefaced  and  repentant  over 
the  trouble  his  attempt  at  mock- 
heroics  had  brought  on  the  company, 
still  kept  a  good  distance,  between 
himself  and  Vera  Shelby,  but  the 
others  treated  him  quite  as  before  the 
adventure. 


ER  eyes  were  red  from  weeping 
as  she  took  the  hand  that  Grattan  ex- 
tended to  help  her  to  the  deck 
and   Vera,    sensing  trouble, 
came  quickly  to  her  side. 

"What  is  it?"  the  director 
asked  when  Dolores  stood  be- 
side him. 

"My  poor  father,"  she  mur- 
mured wearily,  "he — he  has 
passed  away.  The  excitement, 
I  think  it  was — and  his  heart 
— it  just  stopped  as  he  lay  on 
my  arm." 

She  burst  into  tears  and 
Vera,  passing  an  arm  about 
her  shoulders,  led  her  away 
from  the  curious  group,  mur- 
muring words  of  sympathy  as 
she  directed  her  to  the  little 
cabin.  5 

A    glorious    moon  shone 
down  on  the  Wasp  a  few- 
hours  later  as  it  lazily  rolled 
in  the  gentle  swell  of  the  little 
cove.  Up  forward  a  group  of 
Grattan's  company,  with  tink- 
ling ukuleles,  sang  the  old 
songs  that  moonlight  and  a 
quiet   sea   always   bring  to 
mind.    The  gleam  of  cigar- 
ettes and  the  murmur  of 
voices  came  from  another 
quarter  of  the  deck,  where 
half  a  dozen  of  the  men 
yarned  away  the  hours  be- 
fore bedtime.    And  in  a  se- 
cluded spot.  Mortimer  Grattan  sat 
talking     with    Dolores.  Thougii 
neither  realized  it,  they  had  been  talk- 
ing a  long  time. 

"Well  we'll  consider  it  all  settled 
then,"  he  said.  "You'll  be  our  guest 
while  we  stay  here  to  make  these 
scenes.  Dolores,  and  when  we  go  back 
next  week,  vou're  going  with  us. 
That's  all  there  is  to  it.  You  cant 
stay  here  alone,  you  know." 

"I'm— I'm  afraid  not,"  she  quavered. 
"It's  awfully  good  of  you.  Mr.  Grat- 
tan, but  whatever  am  I  to  do?" 

"You  are  a  member  of  my  company 
right  now !"  he  announced.  "You  are 
going  into  motion  pictures — with  your 
beauty  and  intelligence  and  the  train- 
ing you  will'  get  from — well,  Miss 
Shelby  and  me— you're  bound  to  sue- 

cccd/J  — 
"  "Miss  Shelby?"  she  repeated.  "I 
wonder  what  she  would  think  about 

it.    Mavbe  I  better  talk  to  her"  

(Continued  on  Paqe  61 ) 


46 


Cf  This  is  the  concluding  installment  of  "the  life  history 
of  a  photoplay/'  Exploitation  and  distribution  of  films, 
a  subject  little  understood  by  the  average  playgoer,  are 
entertainingly  discussed  in  these  chapters. 


BEHIND  the  I  amera 


By  UELVIN  M.  RIDDLE 


With 

ELINOR 
GLYN 


A, 


CHAPTER  XVII. 


lFTER  a  picture  is  completed 
photographically  and  cut  and  assem- 
bled by  the  director,  the  next  step  is 
its  editorial  treatment. 

This  involves  writing  and  inserting 
titles,  spoken  and  narrative,  and  finish- 
ing touches  in  cutting.  Such  work  is 
usually  accomplished  by  the  editorial 
department  of  the  Paramount  studio, 
composed  of  a  supervisor  and  several 
title  specialists.  In  the  case  of  Be- 
yond the  Rocks,  however,  because  of 
the  personal  interest  of  Madam  Glyn 
in  the  various  branches  of  the  produc- 
tion work,  the  author  of  the  novel  and 
Director  Sam  Wood  collaborated  in 
the  writing  of  the  titles,  submitting 
their  suggestions  to  the  editorial  de- 
partment. 

Of  first  importance  comes  the  main 
title  of  the  picture.  This  often  varies 
from  the  title  of  the  original  play, 
rovel  or  story  from  which  the  picture 
is  adapted,  but  in  this  case  the  original 
main  title  of  Madam  Glyn's  novel  was 
reLained,  as  it  had  good  screen  value 
and  fitted  as  well  as  any  other  sug- 
gestions which  were  forthcoming. 

ThERE  has  been  some  question, 
however,  among  those  screen  patrons 
who  did  not  read  the  book,  and  prior 
to  seeing  the  picture,  as  to  the  applica- 
tion of  the  main  title  to  the  story. 
Madam  Glyn  when  questioned  as  the 
best  authority  on  this  point,  quoted, 
by  way  of  explanation,  the  following 
passage  in  the  book: 

"He  was  a  fatalist.  He  told  her 
(Theodora,  played  by  Miss  Swanson) 
what  would  be,  would  be  and  mortals 
like  himself  and  herself  were  just 
scattered  leaves,  like  barques  floating 
down  a  current  where  were  mostly 
rocks-  ahead. 

"  'Then  must  we  strike  the  rocks 
whether  we  wish  it  or  not?'  asked 
Theodora.  'Cannot  we  help  ourselves  ?' 

"  'Ah,  madam !  For  that,'  he  said, 
'we  can  strive  a  little  and  avoid  this 


one  and  that,  but  if  it  is  our  fate  we 
will  crash  against  them  in  the  end.' 

'"What  a  sad  philosophy!'  said 
Theodora.  'I  would  rather  believe 
that  if  one  does  one's  best,  some  kind 
angel  will  guide  one's  barque  past  the 
rocks  and  safely  into  the  smooth 
waters  of  the  pool  beyond.'  " 

Later  on  in  the  story,  Theodora 
writes  to  Hector  (played  by  Rodolph 
Valentino)  and  in  the  course  of  her 
letter  says :  *  *  *  *  "And,  oh,  we 
must  not  grieve !  We  must  thank  Fate 
for  giving  us  this  one  peep  into  Para- 
dise— and  we  must  try  and  find  the 
angel  to  steer  our  barques  for  us  be- 
yond the  rocks." 

Thus,  it  will  be  seen  that  the  idea  of 
the  title  of  this  novel  and  picture  orig- 
inated in  the  symbol  employed  to  bring 
out  the  theme  or  central  thought  of 
the  story,  as  embodied  in  this  dialogue. 

Sub-titles  are  very  necessary  to  the 
picture.   Of  course,  as  few  titles  as 
possible  are  used,  the  idea  of  the  pic- 
ture being  to  convey  to  the  audience 
by  the  actions  and  expressions  of  the 
characters,  the  story,  in  so  far  as  pos- 
sible. But  it  must  not  be  inferred  from 
this  that  titles  are  a  drawback.  A  good 
title,  in  the  proper  place,  and  couched 
in  the  right  kind  of  language,  is  an 
asset  to  the  picture.    The  titles  of 
"Beyond  the  Rocks"  have  a  very  im- 
portant part  and  necessary  purpose. 
They  set  the  time  and  locale  of  the 
story,  introduce  and  acquaint  the  audi- 
ence  with    the   various  characters, 
bridge  over  lapses  of  time  in  the  hap- 
penings of  the  story,  and  save  an  un- 
due amount  of  film  footage  and  pos- 
sible drags  in  the  story  by  explaining 
action  which  might  require  a  great  deal 
of  film  to  explain  in  story  continuity. 


1 


N  titling  "Beyond  the  Rocks"  the 
following  procedure  is  adhered  to: 
The  scenario  writer's  guide  titles,  as 
appeared  in  the  scenario,  are  photo- 
graphed and  inserted  in  the  roughly 
assembled  picture.  Mr.  Wood  and 
Mrs.  Glyn  then  looked  at  the  picture 
in  this  form  and  sat  in  a  title  confer- 
ence, taking  each  title  in  turn  and  im- 


proving upon-  it  or  putting  another 
more  apropos  in  its  place.  The  work 
of  writing  titles  involves  the  greatest 
amount  of  literary  skill  and  taste.  The 
editorial  crew  then  take  the  picture 
and  trim  it  down  to  seven  reels,  or,  to 
be  exact,  six  thousand  eight  hundred 
and  seventy-eight  feet,  see  that  the 
titles  are  exactly  placed  so  as  to  blend 
in  perfectly  with  the  action,  and  polish 
up  the  picture  editorially. 

About  seventeen  hundred  feet  of 
this  entire  picture  length  are  devoted 
to  title  footage.  This  set  of  titles  is 
referred  to  as  the  "temps,"  of  tem- 
porary titles.  When  these  are  fully 
approved  and  okeyed,  the  permanent 
titles  are  made,  printed  on  illustrated 
black  title  backgrounds  in  white  let- 
ters, photographed  onto  negative  film, 
printed  to  positive,  and  inserted  into 
the  places  held  by  the  corresponding 
temporary  titles  in  the  picture. 

In  photographing  the  titles,  about 
three  feet  of  film  are  allowed  to  every 
five  words  of  title.  For  example,  if 
the  title  consists  of  fifteen  words,  the 
screen  length  of  the  title  would  be 
about  nine  feet. 

In  cutting  spoken  titles,  the  title  be- 
gins right  where  the  character  starts 
to  speak  and  when  the  title  finishes, 
the  character  is  shown  just  completing 
his  speech. 

CHAPTER  EIGHTEEN. 
"Exploitation." 

Exploitation  is  one  of  the 

three  great  branches  in  the  mechanics 
of  the  motion  picture  industry.  Pro- 
duction, the  first  great  branch,  in- 
volves the  making  of  the  picture,  ex- 
ploitation takes  in  the  publicizing  and 
advertising  of  the  picture,  and  distri- 
bution, the  third  step,  concerns  the 
rental  and  distribution  of  tire  picture 
to  theatres. 

All  of  the  articles  of  this  series  thus 
far  have  been  concerned  with  the  pro- 
duction stages  of  the  picture.  And 
now  we  arrive  at  the  subject  of  ex- 
ploitation. 


The  exploitation  of  "Beyond  the 
Rocks"  is  really  a  preliminary  step  in 
its  sale  and  distribution  and  is  closely 
related  to  and  connected  with  that  part 

>f  the  work. 

Whatever  the  merits  of  a  salable 
product  of  any  kind,  that  product  will 
not  score  a  success  unless  the  market 
is  apprised  of  its  existence  and  its 
merits.     In   the   case  of  a  motion 
picture,  the  market  is  primarily  the 
general  public  and  then  the  exhi- 
bitors who  show  pitcures.    The  pur- 
pose of  the  division  of  exploitation 
is  to  acquaint  the  public  with  the 
merits  of  the  picture  be- 
fore it  is  released,  by  the 
medium  of  publicity  and 
advertising. 

Publicity  is  prepared 
right  at  the  west  coast 
Paramount  studio,  some 
of  it  placed  with  news 
mediums  in  Los  Angeles 
and  other  material  sent 
to  New  York,  the  home 
office  of  Famous  Play- 
ers-Laskv  Corporation 
where  it  is  handled  and 
distributed  all  over  this 
country  and  abroad,  by 
the   efficient  organized 
efforts  of  the  far-reach- 
ing publicity  department. 
The  advertising  on  the 
picture  is  also  handled 
from  the  New  York  of- 
fice, where  skilled  artists 
and  advertising  experts 
draw  up  the  advertisments,  cuts 
lithographs  and  other  adverti* 
ing  matter,  placing  the  ads  m 
some  of  the  most  highly  circulated 
magazines  of  the  country.   The  litho- 
graphs, cuts,  still  photographs  and 
other  matter,  known  as  accessories, 
are  sent  on  to  the  exchanges  and  are 
there  available  for  exhibitors  in  adver- 
tising the  picture  when  they  show  it 
on  the  screen  in  their  respective  cities. 

P  UBLICITY  is  that  reading  matter 
concerning  the  picture  which  is  of 
news  and  feature  interest  and  involves 
stories  about  the  picture,  the  story,  the 
people  in  the  cast,  incidents  of  unusual 
interest,  news  announcements,  etc. 

The  studio  publicity  department  is 
one  of  the  most  thoroughly  organized 
departments  in  the  studio.  At  the 
Paramount  studio  the  publicity  depart- 
ment is  composed  of  seven  writers, 
under  the  direction  of  Adam  Hull 
Shirk,  west  coast  publicity  director, 
two  skilled  news  and  portrait  photog- 
raphers, and  a  department  secretary. 
Affiliated  with  the  department  are 
also  three  laboratory  men  who  print 
and  develop  still  photographs,  and  one 


SCREENL&KD  Cdifi»* 

negative  retoucher.  Linked  up  with 
the  department's  activities  is  Jerome 
Beatty,  who  holds  the  important  posi- 
tion of  studio  representative  of  the 
sales  department  and  works  in  an  ad- 
visory capacity  with  the  publicity  de- 
partment among  his  other  important 

duties.  _    _  _„  ,. 

Four  of  these  men,  B.  C.  Kieslmg, 
M  M  Riddle  (the  writer  of  this 
series),  Alfred  D.  Wilkie  and  James 
M.  Fidler,  handle  the  publicity  for 
certain  pictures  in  production,  each 
man  taking  one  or  two  pictures  and 
handling  all  publicity  and  photograph 


D  This  is  the  way  "Beyond  the  Rocks'*  was  titled— 
q  D  ree  or  Sam  Woods  and  Elinor  &y*t  the  authoress 
collaborated  in  writing  them,  submitting  their  work 
to  the  title  department. 

material  for  those  particular  pictures. 
W.  A.  Reeve,  assisted  by  Robert  I. 
Alien,  handles  the  placing  of  publicity 
with  local  mediums,  such  as  the  daily 
papers,  news  syndicates  with  head- 
quarters or  branches  in  Los  Angeles, 
and    correspondents    of  magazines. 
All    of    the    departments  activities 
are  under  the  supervision  of  Mr 
Shirk.  The  photographers  are  Donald 
Biddle  Keyes   and  Eugene  Richee, 
who  are  well  known  in  their  pro- 
fession by  virtue  of  their  photographic 
work,  both  news   photographs  and 

portraits.  . 

The  majority  of  all  the  personnel 
have  had  valuable  newspaper  or  lit- 
erary experience  prior  to  their  work 
in  the  publicity  department. 

The  avenues  of  publicizing  and  ad- 
vertising "Bevond  the  Rocks"  are 
newspapers,  "fan"  or  motion  picture 
magazines,  technical  magazines,  peri- 
odicals, etc.  Most  of  the  publicity  is 
directed  to  the  ultimate  consumer— 
the  screen  patron.  The  interest  of  the- 
atre owners  is  aroused  through  the 
medium  of  publicity  and  advertising 
placed  in  theatre  trade  journals. 

For  "Beyond  the  Rocks"  something 


47 

like  fifty  stories  were  written.  These 
included  short  news  stories,  magazine 
stories,  newspaper  feature  stones  and 
trade  articles.  About  fifteen  specially 
posed  lithographs  and  advertising  stills 
of  Gloria  Swanson  and  Rodolph  Val- 
entino were  made  and  a  number  of  off- 
stage pictures  of  the  star,  the  director 
and  various   members  of   the  cast. 
Portraits  of  Miss  Swanson,  Mr.  Val- 
entino and  other  important  members 
of  the  cast  were  also  taken. 

As  explained,  some  of  this  material 
was  placed  direct  from  the  studio  de- 
partment and  a  large  amount  of  it 
sent  on  to  the  New  York 
home  office  where  a 
large  staff  of  experts 
placed  it  in  the  various 
mediums  and  sent  it  out 
over  their  comprehensive 
news  lists. 

CHAPTER 
NINETEEN. 

Rental  and  Distribution. 

Distribution,  as 

explained  in  the  preced- 
ing chapter,  is  the  third 
great  arm  of  the  motion 
picture  industry.  The 
Famous  Players-Lasky 
Corporation  maintains  in 
the  United  States  twen- 
ty-nine exchanges.  The 
country  is  divided  into 
districts,  by  population, 
and  one  or  more  of  these  key 
exchanges  is  in  one  or  more  large 
cities  of  each  district.   For  in- 
stance, the  Los  Angeles  exchange  of 
the  organization  is  in  District  No.  9,  in 
which  district  are  also  the  San  Fran- 
cisco. Portland  and  Seattle  exchanges. 
Over  each  district  is  a  district  man- 
ager.   Over  each  separate  exchange 
there  is  also  a  manager.  This  Los  An- 
geles exchange,  which  we  will  use  as 
a  model  for  our  discussion  of  the  dis- 
tribution of  "Beyond  the  Rocks,"  has 
for  its  sales  territory  Southern  Cali- 
fornia, all  of  Arizona  and  a  part  of 
New  Mexico  and  Nevada. 

The  personnel  of  each  exchange  in- 
cludes a  number  of  film  salesmen,  the 
booker,  the  auditor,  the  accessories 
salesman  and  the  exploitation  agent. 
The  latter  co-operates  with  the  in- 
dividual theatre  in  advertising  and  ex- 
ploiting the  picture  when  shown  at 
that  theatre. 

Five  or  six  prints  of  a  picture  are 
sent  from  the  Lasky  studio  laboratory 
to  the  Los  Angeles  exchange,  as  to  all 
other  exchanges.  This  picture  has 
been  previously  viewed  by  executive 
heads  of  the  parent  organization  and 
classified  as  to  merit,  box  office  value 
artistic  value,  and  a  scale  of  rental 
(Continued  on  Page  60) 


48 


MY  TRIP  ABROAD 


this  was  all  the  more  noticeable  to 
me  because  of  the  genial  and  un- 
suspicious treatment  by  a  taxi 
driver.  We  left  the  cab  many 
times  and  were  gone  as  long  as  half 
an  hour  at  a  time,  and  out  of  sight, 
yet  he  always  waited  and  never  sug- 
gested that  he  be  paid  beforehand. 


Ii 


IN  the  business  section  we  pass 
many  cripples  with  embittered,  sul- 
len looks  on  their  faces.  They  look 
as  though  they  had  paid  for  some- 
thing which  they  hadn't  received. 
We  are  approached  by  a  legless 
soldier  beggar  in  a  faded  German 
uniform.  Here  was  the  war's  mark. 
These  sights  you  will  find  on  every 
side  in  Berlin. 

I  am  presented  with  a  police  card 
to  the  Berliner  Club,  which  is  evi- 
dently a  technicality  by  which  the 
law  is  circumvented.  Berlin  is  full 
of  such  night-life  clubs.  They  are 
somewhat  like  the  gatherings  that 
prohibition  has  brought  to  America. 

There  are  no  signs,  however, 
from  the  outside  of  any  activity, 
and  you  are  compelled  to  go  up 
dark  passages  and  suddenly  come 
upon  gayly  lit  rooms  very  similar 
to  Parisian  cafes. 

Dancing  and  popping  corks  are 
the  first  impression  as  I  enter.  We 
are  taken  in  hand  by  two  girls  and 
they  order  drinks  for  us.  The  girls 
are  very  nervous.  In  fact,  the 
whole  night  life  of  this  town  seems 
to  be  nervous,  neurotic,  overdone. 

The  girls  dance,  but  very  badly. 
They  do  not  seem  to  enjoy  it  and 
treat  it  as  part  of  the  job.  They 
are  very  much  interested  in  my 
friend,  who  seems  to  have  the 
money  for  the  party.  On  these 
occasions  my  secretary  always 
carries  the  family  roll,  and  they 
are  paying  much  attention  to  him. 

I  sit  there  rather  moody  and 
quiet,  though  one  of  the  girls 
works  hard  to  cheer  me  up.  I 
hear  her  asking  Robinson  what  is 
the  matter  with  me.  I  smile  and 
become  courteous.  But,  her  duty 
done,  she  turns  again  to  Robin- 
son. 


{Continued  from  Page  34) 

I  am  piqued.  Where  is  that 
personality  of  mine  ?  I  have  been 
told  many  times  that  I  have  it. 
But  here  it  is  convincingly  shown 
that  personality  has  no  chance 
against  "pursenality." 

But  I  am  beginning  to  get  so 
much  attention  from  my  friends 
that  one  of  the  girls  is  noticing 
me.  She  senses  that  I  am  some 
one  important,  but  she  can't  quite 
make  it  out. 

"Who  is  this  guy— an  English 
diplomat  ?"  she  whispers  to  Rob- 
inson. He  whispers  back  that  1 
am  a  man  of  considerable  im- 
portance in  the  diplomatic  service. 
I  smile  benevolently  and  they  be- 
come more  interested. 

I  am  treating  her  rather  patern- 
ally and  am  feeling  philosophical. 
I  ask  her  about  her  life.  What  is 
she  doing  with  it?  What  ambi- 
tions ?  She  is  a  great  reader,  she 
tells  me,  and  likes  Schopenhauer 
and  Nietzsche.  But  she  shrugs 
her  shoulders  in  an  indifferent 
and  tragic  manner  and  says, 
"What  does  it  matter  about  life  ?" 

"You  make  it  what  it  is,"  she 
says.  "In  your  brain  alone  it  ex- 
ists and  effort  is  only  necessary 
for  physical  comfort."  We  are  be- 
coming closer  friends  as  she  tells 
me  this. 

But  she  must  have  some  ob- 
jective, there  must  be  some 
dreams  of  the  future  still  alive 
within  her.  I  am  very  anxious  to 
know  what  she  really  thinks. 

I  ask  her  about  the  defeat  of 
Germany.  She  becomes  discreet 
at  once.  Blames  it  on  the  kaiser. 
She  hates  war  and  militarism. 
That's  all  I  can  get  out  of  her, 
and  it  is  getting  late  and  we  must 
leave.  Her  future  intrigues  me, 
but  does  not  seem  to  worry  her. 

On  the  way  home  we  stop  in 
at  Kaufman's  apartment  and  have 
quite  a  chat  about  pictures  and 
things  back  in  Los  Angeles.  Los 
Angeles  seems  very  far  away. 

I  AM  invited  to  a  formal  dinner 
party  for  the  next  evening  at  the 
home  of  Herr  Werthauer,  one  of 
the  most  prominent  lawyers  in 
all  Europe  and  a  chief  of  the 
kaiser  during  the  war.  The  oc- 
casion for  the  dinner  was  to  cele- 
brate the  announcement  of  Wert- 


hauer's  engagement  to  his  third 
wife. 

has  befallen  me.  I  wonder  if  my 
clothes  are  all  right. 

His  is  a  wonderful  home  in  the 
finest  section  of  Berlin.  At  the 
party  there  are  a  number  of  his 
personal  friends — Pola  Negri,  Al 
Kaufman,  Mrs.  Kaufman,  Robin- 
son and  myself. 

There  is  a  Russian  band  play- 
ing native  music  all  through  the 
dinner  and  jazz  music  is  also  be- 
ing dispensed  by  two  orchestras 
made  up  of  American  doughboys 
who  have  been  discharged,  but 
have  stayed  on  in  Germany. 

For  no  reason  at  all,  I  think  of 
the  story  of  Rasputin.  This  seems 
the  sort  of  house  for  elaborate 
murders.    Perhaps  it  is  the  Rus- 
sian music  that  is  having  this 
effect  on  me.    There  is  a  huge 
marble  staircase  whose  cold  aus- 
tereness    suggests   all    sorts  of 
things  designed  to  send  chills  up 
the  spine.    The  servants  are  so 
impressive  and  the  meal  such  a 
ceremony  that  I  feel  that  I  am  in 
a  palace.   The  Russian  folk  songs 
that  are  being  dreamily  whined 
from  the  strings  of  their  peculiar 
instruments  have  a  very  weird 
effect  and  I  find  food  and  dinner 
the  least  interesting  things  here. 

There  is  a  touch  of  mystery,  of 
the  exotic,  something  so  foreign 
though  intangible,  that  I  find  my- 
self searching  everywhere  and 
everybody,  trying  to  delve  deeper 
into  this  atmosphere. 

We  are  all  introduced,  but  there 
arc  too  many  people  for  me  to  try 
to  remember  names.  There  are 
herrs,  frauleins  and  fraus  galore, 
and  I  find  it  hard  to  keep  even 
their  sex  salutations  correct.  Some 
one  is  making  a  long  formal 
speech  in  German  and  every- 
body is  watching  him  attentively. 

The  host  arises  and  offers  a 
toast  to  his  bride-to-be.  Every 
one  rises  and  drinks  to  their  hap- 
piness. The  party  is  very  formal 
and  I  can  make  nothing  from  the 
talk  going  on  all  about  me.  The 
host  is  talking  and  then  all  get  up 
again  with  their  glasses.  Why,  I 
don't  know,  but  I  get  up  with 
them. 

At  this  there  is  general  laugh- 
ter, and  I  wonder  what  calamity 
{Continued  on  Page  50) 


Holly-wood.  SCREENLAND 


ats 


the  MATTER  with 


y  STORY? 


c 


HAYSEED  ITCH 
By  J.  D.,  San  Pierre,  Ind. 


>ANDIDLY  now,  do  you  think 
you  would  risk  a  dime  J|  «  a 
picture  bearing  such  a  tit le.  Win 
aspiring  scenarists  never  learn  the 

^rr^ning  £  decidedly  weak. 
Suspense  "is  lacking  and  the  heavy 
task  of  providing  such  as  there  is  falls 
entirdyV  Joe."  The 
other    characters    would  material!) 

S*t^Segotothefr 
to  rest  on  doctor's  orders,  not  disclos- 
ing die  fact  that  she  is  a  screen  star 
until  the  end,  careful  throughout  to 
Z%  her  true  identity  hidden  irom 
the  others?    You  see,  actresses  are 
ol  en  misunderstood  in  the  country ; 
besides,  she  is  there  to  completely  for- 
get the  studio  for  the  time  being.  Tod 
comes  to  the  farm  by  coincide-e. 
Thus,  the  love  interest  rises  naturally 
and  the  plot  isn't  given  away  m  toe 
frst  scene.    And,  too.  wouldnt  it  be 
Sre  artistic  for  Joe  to  feel  sudden 
Smorse  for  the  havoc  he  has  created, 
and  disappear?   The  foregoing  is  sug 
gested  merely  to  give  you  an  idea  as  to 
how  plots  should  be  .funded  out 
Your  scenario  has  possibilities  but  no 
market  value  in  its  present  form.  Re- 
work it  thoroughly  and  try  for  better 
results. 


ROYALTY  AND  A  PRICE 


By  G.  W.,  San  Diego,  Calif. 
WHAT  could  have  made  you  think 
vour  storv  had  a  chance  in  its  present 
Lm?   You  would  like  to  receive  the 
check  and  leave  the  story-making  to 
the  artists  and  director    Itisn  t  done 
Where  are  the  details?    Your  story 
runs  an  inconsistent  path  and  is  scat- 
hed all  over  the  place  like  a  broken 

Cg\Vhv  attempt. to  write  about  a  coun- 
try and  race  of  which  you  obviously 
have  no  knowledge?  For  example 
after  going  to  much  pain  to  describe 
how  terribly  conventional  and  alooi 
is  Count  Milo,  you  then  proceed  to 
have  him  "dance  for  the  amusement 
of  the  crowd '."  Fancy  a  European  ot 


M;y  Maiden  Effort 

My  maiden  effort  was ■  W/W  young 
for  it  was  made  when  the  ^s  were  DU 
a  few  years  old.   Nor  was  it  with  artistic 
LpeVbut  for  a  pictorially  selfish  pur- 

P°Back  in  1910  I  had  two  little  boys 
whose  babyhood  I  wished  to  perpetuate 
JSS  So  I  wrote  them  into  a  story 
called  The  Artists  Sons.  Colonel  Sehg 
Wffht  the  classic  and  Frank  aoggs— 
poof  Frank  Boggs,  whose  MM 
career  was  cut  short  by  an  msanc Jajaj- 
VI*  orarHener— shot  the  reel.    It  was  re 

SSS-far  wo  »hok  weeks  »« 

ind  the  elemental  technic  ol_ """J  «™S 

selveslt  the  threshold  of  this  greatest  of 

thlf  ?'  story   The  Artist's  Sons  will 
neveSr  plafeTs  author  among  the^mmor- 
tals   but  as  an  heirloom  he  values 
among  his  dearest  possessions. 

ROB  WAGNER. 
Screen  writer  and  author  of  motion 
picture  fiction  and  articles. 


royal  blood  cutting  such  capers.  Di- 
vorce is  not  observed  in  Italy. 

Before  making  another  attempt  at 
scenario  writing,  it  would  be  well  if 
vou  studied  the  technique  ot  plot  con- 
struction. Also,  write  on  subjects 
near  to  home. 

HIS  INNING 
By  L.  J.,  New  York  City. 
TOO  much  so!    That's  the  chief 
drawback— he    wins    all    the  way 
through.    Why  not  have  Keith  Gor- 
don's play  a  dismal  failure  instead  ot 
a  roaring  success?  The  plot  is  entirely 
too    conventional  — another  trouble, 
you've  seen  it  too  often  yourself.  Dig 
for  something  new,   original,  1923 
stuff    There  isn't  a  new  situation  in 
His  Inning  and  no  suspense  Another 
thing,  it  is  absurd  that  Keith  can  t  tell 
Audrey  that  the  French  actress  wishes 
to  introduce  him  to  managers.  Un 
the  other  hand,  your  characters  are 
well  drawn. 


THE  PRIMROSE  PATH 
By  Miss  B.  P.,  Fort  Wayne.  Ind. 
We  have  searched  your  manuscript 
several  times  without  being  able  to 
find  the  connection  between  the  plot 
and  the  title.   At  last  we  decided  that 
there  simply  wasn't  any.  Even  it  there 
was  it  is  so  old  and  time-worn  that  a 
crutch  wouldn't  support  it  again. 

There  is  no  hope  for  this  scenario. 
The  plot  has  fringe  around  it  and  the 
storv  is  one  of  the  thinnest  we  have 
vet  read.    There  is  no  suspense,  be- 
cause every  one  knows  what  will  occur 
next :  no  novel  situations ;  love  interest 
that  is  so  superficial  it  is  merely 
a  veneer.   The  heroine  starts  out  with 
a  flourish,  bloodthirsty  and  full  ot 
pep,  then  completely  collapses  in  the 
most  absurd  sort  ot  manner  You 
give  no  motive  for  the  murder  01 
Gray  and  lovely  Rosamund  must  be  an 
awful  dud  to  remain  in  the  employ  ot 
persons  who  so  ill-treat  her.  Besides^ 
such  a  character  should  be  of  Latin 
origin  if  she  is  to  go  on  the  rampage 
and  declare  a  vendetta.  You  surely  do 
not  utterly  lack  a  knowledge  of  human 
beings. 


H^ix^oi  SCREENLAND 


MY  TRIP  ABROAD 


IHEN  I  understand.  The  host 
is  about  to  toast  me.  He  does 
it  in  very  bad  English,  though  his 
gestures  and  tone  make  it  most 
graceful.  He  is  inclined  to  be 
somewhat  pedantic  and  whenever 
he  cannot  think  of  the  proper 
English  word  he  uses  its  German 
equivalent. 

As  the  various  courses  come 
the  toasts  are  many.  I  am  always 
about  two  bites  late  in  getting  to 
my  feet  with  my  glass.  After  I 
have  been  toasted  about  four 
times,  Mrs.  Kaufman  leans  over 
and  whispers,  "You  should  toast 
back  again  to  the  host  and  say. 
something  nice  about  his  bride- 
to-be." 

I  am  almost  gagged  with  the 
stage  fright  that  grips  me.  It  is 
the  custom  to  toast  back  to  the 
host  and  here  I  have  been  gulping 
down  all  kinds  of  toasts  without 
a  word.  And  he  had  been  sitting 
there  waiting  for  me. 

I  rise  and  hesitate.   "Mr.  " 

I  feel  a  kick  on  the  shins  and 

I    hear    Mrs.    Kaufman  whisper 

hoarsely : 
"Herr." 

I  think  she  means  the  bride-to- 

bc.   "Mrs.  "  No  she  isn't  that 

yet.    Heavens,  this  is  terrible. 

I  plunge  in  fast  and  furious. 
"My  very  best  respects  to  your 
future  wife."  As  I  speak  I  look  at 
a  young  girl  at  the  head  of  the 
table  who  I  thought  was  the 
lucky  woman.  I  am  all  wrong.  I 
sit,  conscious  of  some  horrible 
mistake. 

He  bows  and  thanks  me.  Mrs. 
Kaufman  scowls  and  says,  "That's 
not  the  woman.  It's  the  one  on 
the  other  side." 

I  have  a  suppressed  convulsion 
and  alniost  die.  and  as  she  points 
out  the  real  bride-to-be  I  find  my- 
self laughing  hysterically  into 
my  soup.  Rita  Kaufman  is  laugh- 
ing with  me.  Thank  heaven  for  a 
sense  of  humor. 

I  am  so  weak  and  nervous  that 
I  am  almost  tempted  to  leave  at 
once.  The  bride-to-be  is  reach- 
ing for  her  glass  to  return  my 
salute,  though  unless  she  thinks  I 
am  cross-eyed  I  don't  see  how  she 
knows  I  said  anything  nice  to  her. 

But  she  gets  no  chance  to 
speak.   There  is  launched  a  long- 


(Continued  from  Page  48) 

winded  pedantic  speech  from  the 
host,  who  says  that  on  such  rare 
occasions  as  this  it  is  customary 
to  uncork  the  best  in  the  cellar. 
This  point  gets  over  in  great 
shape  and  everybody  is  smiling. 

I  even  feel  myself  growing  ra- 
diant. I  was  under  the  impres- 
sion that  the  best  had  already 
been  served.  Didn't  know  he  was 
holding  back  anything.  With  the 
promise  of  better  wine  I  am 
tempted  to  try  another  toast  to  the 
bride-to-be. 

The  first  night  in  Paris  after 
our  return  from  Germany  we 
dined  at  Pioccardi's,  then  walked 
up  to  the  arches  of  the  old  gates 
of  Paris.  Our  intention  was  to 
visit  the  Louvre  and  see  the 
statue  of  Venus  de  Milo.  but  it 
only  got  as  far  as  intention. 

We  drifted  into  the  Montmartre 
district  and  stopped  in  Le  Rat 
Mort,  one  of  its  most  famous  res- 
taurants. As  it  is  very  early  in 
the  evening,  there  arc  very  few 
people  about,  one  reason  why  I 
picked  out  this  place,  which  later 
in  the  night  becomes  the  center  of 
hectic  revelry. 


PASSING  our  table  is  a  strik- 
ing-looking  girl  with  bobbed 
blond  hair,  shadowing  beautiful, 
delicate  features  of  pale  coloring 
and  soft,  strange  eyes  of  a  violet 
blue.  Her  passing  is  momentary, 
but  she  is  the  most  striking-look- 
ing girl  I  have  seen  in  Europe. 

Although  there  are  but  few  peo- 
ple here.  I  am  soon  recognized. 
The  French  are  so  demonstrative. 
They  wave.  "Hello,  Chariot !" 

1  am  indifferent.  I  smile  me- 
chanically. I  am  tired.  I  shall 
go  to  bed  early.  I  order  cham- 
pagne. 

The  bobbed-hair  one  is  sitting 
at  a  table  near  us.  She  interests 
me.  But  she  doesn't  turn  so  that 
I  can  see  -her  face.  She  is  sitting 
facing  her  friend,  a  dark  Spanish- 
looking  girl. 

I  wish  she'd  turn.  She  has  a 
beautiful  profile,  but  I  would  like 
to  see  her  full  face  again.  She 
looked  so  lovely  when  she  passed 
me.  I  recall  that  ghost  of  a  smile 
that  hovered  near  her  mouth, 
showing  just  a  bit  of  beautiful, 
even,  white  teeth. 

The  orchestra  is  starting  and 


dancers  are  swinging  onto  the 
floor.  The  two  girls  rise  and  join 
the  dance.  I  will  watch  closely 
now  and  perhaps  get  another  flash 
at  her  when  she  whirls  by. 

There  is  something  refined  and 
distinguished  about  the  little  girl. 
She  is  different.  Doesn't  belong 
here.  I  am  watching  her  very 
closely,  though  she  has  never  once 
looked  my  way.  I  like  this  touch 
of  the  unusual  in  Montmartre. 
Still  she  may  be  just  clever. 

She  is  passing  me  in  the  dance 
and  I  get  a  full  view  of  her  face. 
One  of  real  beauty,  with  a  sensi- 
tive mouth,  smiling  at  her  friend 
and  giving  a  complete  view  of  the 
beautiful  teeth.  Her  face  is  most 
expressive.  The  music  stops  and 
they  sit  at  their  table. 

I  notice  that  there  is  nothing  on 
their  table.  They  are  not  drink- 
ing. This  is  strange,  here.  Nor 
are  there  sandwiches  or  coffee.  I 
wonder  who  they  are.  That  girl 
is  somebody.    I  know  it. 

She  gets  up  as  the  orchestra 
plays  a  few  strains  of  a  plaintive 
Russian  thing.  She  is  singing 
the  song.  Fascinating!  An  art- 
ist! Why  is  she  here?  I  must 
know  her. 

The  song  itself  is  plaintive,  ele- 
mental, with  the  insinuating 
nuances  that  are  vital  to  Russian 
music.  The  orchestra,  with  the 
violins  and  cellos  predominant,  is 
playing  hauntingly,  weaving  a 
foreign  exotic  spell. 

She  has  poise,  grace  and  is  com- 
pelling attention  even  in  this 
place.  There  comes  a  bit  of  mel- 
ancholy in  the  song  and  she  sings 
it  as  one  possessed,  giving  it 
drama,  pathos.  Suddenly  there  is 
a  change.  The  music  leaps  to  wild 
abandon.  She  is  with  it.  She 
tosses  her  head  like  a  wild  Hun- 
garian gypsy  and  gives  fire  to 
every  note.  But  almost  as  it  be- 
gan, the  abandon  is  over.  WTith 
wistful  sweetness,  she  is  singing 
plaintively  again. 

C 

^HE  is  touching  every  human 
emotion  in  her  song.  At  times 
she  is  tossing  away~  care,  the** 
gently  wooing,  an  elusive  strain 
that  is  almost  fairylike,  that  cre- 
scendos  into  tragedy,  going  into 
a  crashing  climax  that  diminishes 
(  Continued  on  Page  58) 


ujiywcaX  SCREEMLAND  Cii£™H 


The  Senario  Writer's 
Corner 

By  Frederick  Palmer 

THE  DRAMATIC  "TRIAD"_ 
IN  a  magazine  story,  conflict  be- 
tween two  persons  is  often  suf- 
cient,  but  in  a  photoplay  three  fac- 
tions are  usually  necessary,  the  dra- 
matic "triad,"  in  other  words.  Like- 
wise, the  inner  struggle  of  a  person 
with  his  or  her  conscience  can  be 
depicted  by  a  novelist.  It  is  more 
difficult  for  the  screen  writer  to 
indicate  it  on  the  screen.  Conflict 
of  the  photoplay  must  be  shown  in 
action  and  it  is  difficult  to  give 
visual  expression  to  mental  or 
moral  suffering. 

The  photodramatist  should  al- 
ways test  the  strength  of  his  story 
by  the  intensity  of  the  conflict  or 
the  cross-purposes  of  his  characters 
or  groups  of  characters.  In  consid- 
ering photoplay  situations  he  should 
bear  in  mind  the  necessity  for  pre- 
senting action  that  is  pictorially  in- 
teresting and  conflicts  that  are  clear 
and  striking  in  pictures. 

A  photoplay  situation  can  be  de- 
fined as  the  crisis  of  an  emotional 
conflict  that  can  be  clearly  present- 
ed on  the  screen  by  means  of  pic- 
tures. Following  is  a  clear  exam- 
ple :  the  unexpected,  but  logical,  en- 
trance of  a  husband  at  the  moment 
his  wife  is  entertaining  her  lover. 
The  sight  of  the  three  persons  in 
their  proper  places  on  the  screen  is 
sufficient  to  make  us  understand  the 
situation — and  we  are  at  once  on 
the  alert  to  learn  what  the  husband 
will  do,  what  the  wife  will  do,  and 
what  the  lover  will  do. 

There  are  thirty-six  fundamental 
dramatic  situations,  a  knowledge  of 
which  is  essential  to  a  photodrama- 
tist's  success.   The  first  situation  is 
supplication,  a  situation  capable  of 
a  number  of  variations.  The  case 
of  fugitives  who  implore  the  power- 
ful for  help  against  their  enemies  is 
a  situation  which  comes  under  sup- 
plication and  has  been  used  in  many 
forms  in  the  photoplay,  especially 
as  the  inceptive  situation  of  a  play 
To  the  photodramatist  who  can  de 
vise  new  variations,  however,  it 
still  offers  splendid  opportunities 
for  development.  In  the  photoplay, 
its  chief  use  has  been  in  the  fa- 
vorite old  romance  of  the  maiden 
in  distress,  as  the  suppliant ;  a  guar 
dian  or  parent  as  the  persecutes; 
and  a  brave  hero  who  becomes  the 
power  in  authority.  It  bears  a  close 
relation  to  the  second  situation,  de- 
liverance, which  is  its  usual  devel- 
opment. 


EMINENT  STAR 


;*r  °t I  dians 
fopher/  ever.   ^f.n  'ail 
"i  he  /  less  *^    at  it  -  «*^^ 


a 
Pell 


toy  a 
[pene- 
i»g  of 
she 

\hu- 


•eiwe  nowrada 


the 


stor* 


^y  narra..-*  »a«  to  / bora 


The* 

of  the  film,  bat  as  the  se 
there  is  a  decided  drop  in  imagination.  One  can  aJmos 
see~KHH  turning  from  his  lawn  to  his  scrapbooks 
for  Inspiration. 
We  And  him  first  deep  down  in  the  building  ex- 


This  is  why  we  search  the  Nation 
for  Imagination 

If  you  possess  the  gift,  the  screen  needs  you  and 
will  pay  from  $500  to  $2,000  for  your  stories. 
Will  you  accept  a  free  test  of  your  imagination? 


THE  WHOLE  STORY  of  the  motion 
picture  industry's  supreme  crisis  is 
told  in  the  newspaner  clippings  reproduced 
above.  They  refer  to  the  newest  picture 
of  one  of  the  greatest  stars  of  the  screen. 

Talent  costing  millions — a  fortune  in- 
vested in  the  production.  And  a  disap- 
pointment to  the  public! 

And  now  the  prodcers  realize  that  the 
whole  future  of  the  industry  hangs  in  the 
balance.  To  the  Palmer  Photoplay  Cor- 
poration they  have  said:  "Search  the  na- 
tion for  Imagination.  Train  it  to  create 
stories  for  the  screen." 

A  $10,000  Discovery 

Wonderful  results  are  rewarding  this 
search.  The  Palmer  Photoplay  Corpora- 
tion discovered  Imagination  in  Miss  Win- 
ifred Kimball,  of  Apalachicola.  Florida, 
and  trained  it  to  create  scenarios.  Miss 
Kimball  won  the  first  prize  of  510,000  in 
the  Chicago  Daily  News  Scenario  con- 
test. Eight  other  Palmer  students  won 
prizes  in  that  greatest  of  contests,  in 
which  30,000  scenarios  were  entered. 
Three  Palmer  students  won  all  the  prizes 
in  the  J.  Parker  Reade,  jr.,  scenario  con- 
test, in  which  10,000  competed. 

And  the  search  for  Imagination  goes 
on.  This  advertisement  offers  you  the 
iree  questionnaire  test  with  which  we  dis- 
cover such  Imagination  as  lay  hidden  in 
a  Florida  villnge  until  we  found  and 
trained  Miss  Kimball.  * 

What  is  Imagination?  The  power  of 
making  mental  images.  It  is  the  inspira- 
tion back  of  every  big  thin?  ever  done. 
And  it  is  the  very  essence  of  motion  pic- 
tures, because  the  screen  is  merely  an 
image  of  life. 

The  Imagination  of  a  handful  of  men 
equipped  the  industry  mechanically.  Their 
creative  task  is  completed.  But  the 
Imagination  of  thousands  is  necessary  to 
keep  the  industry  operating.  New  pic- 
tures— and  yet  more  pictures — is  the  cry 
of  Vie  theatres  and  the  public. 

Is  it  any  wonder  that  producers  are 
seeking  everywhere  the  original  story — 
the  scenario  written  expressly  for  the 


screen  with  the  screen's  wide  latitude  and 
its  limitations  in  view? 

The  Palmer  Photoplay  Corporation,  the 
industry's  accredited  agent  for  recruiting 
new  scenario  talent  for  the  screen,  is  dis- 
covering hidden  ability  in  all  walks  of 
life,  and  through  its  training  course  in 
screen  technique  is  developing  scenarists 
whose  work  is  eagerly  sought  by  pro- 
ducers. 

Will  you  take  this  free  tett? 

Ey  r.  remarkable  psychological  question- 
naire test,  which  is  sent  free  to  any  seri- 
ous man  or  woman  who  clips  the  coupon 
on  this  page,  natural  aptitude  for  screen 
writing  is  discovered.  It  is  a  searching, 
scientifically  exact  analysis  of  the  Imag- 
ination. Through  it  scores  of  men  and 
women  have  had  opened  to  them  the  fas- 
cinating and  well-paid  profession  of  pho- 
toplay authorship. 

Persons  who  do  not  meet  the  test  are  frankly 
and  confidentially  told  so.  Those  who  do  indi- 
cate the  natural  gifts  required  for  screen  writ- 
ing may,  if  they  so  elect,  enter  upon  the  Palmer 
home  training  course.  This  course  equips  them 
in  every  detail  to  turn  those  talents  to  large 
profit.  The  Palmer'  Course  is  actively  inspira- 
tional to  the  imaginative. mind;  it  stirs  the  dra- 
matic instinc*  to  vigorous  expression.  So  stim- 
ulating are  the  forces  brought  into  play  for 
screen  dramatization,  that  the  Palmer  Course 
has  become  a  recognized  aid  of  incalculable 
value  for  men  and  women  in  every  walk  of  life 
when  the  ability  to  visualize  developments  is  an 
asset.     Primarily,  however,  it  is  for  the  screen. 

$500  to  $2,000  for  a  Single  Story 

The  Palmer  Photoplay  Corporation,  which  exists 
primarily  to  sell  photoplays  to  producers,  must 
train  new  writers  in  order  to  obtain  stories  to 
sell.  The  producers  are  now  paying  from  $500 
to  ?2,000  for  original  stories  by  new  writers. 

Above  are  the  simDle  sincere  facts.  This  ad- 
vertisement is  just  a  part  of  the  Corporation's 
search  for  talent  worth  developing.  It  is  not  an 
unconditional  offer  to  train  you  for  screen  writ- 
ing: it  is  an  offer  to  test  you  absolutely  free, 
in  your  own  home — to  test  you  for  the  creative 
and  imaginative  faculties  which  you  may  have, 
but  are  not  conscious  of.  When  you  have  passed 
the  test,  if  you  pass  it.  we  shall  send  you.  with- 
out obligation,  a  comolete  explanation  of  the 
Palmer  course  and  service,  its  possibilities,  its 
brilliant  success  in  developing  screen  writers, 
and  an  interesting  inside  story  of  the  needs  of 
the  motion  picture  industry  today. 

Will  you  give  an  evening  to  this  fascinating 
questionnaire?  Just  clip  the  coupon — and  clip 
it  now,  before  you  forget. 


PALMER  PHOTOPLAY  CORPORATION,  Department  of  Education, 

124  West  4th  SU  Los  Angeles,  Cal. 


PLEASE  send  me,  without  cost 
or  obligation  on  my  part,  your 
questionnaire.  I  will  answer  the 
questions,  in  it  and  return  it  to 
you  for  analysis.  If  I  pass  the 
test,  I  am  to  receive  further  in- 
formation about  yonr  Course  and 
Service. 


NAME  . 


Indicate  Mr.,  Mrs.,  or  Miss 


ADDRESS  . 


'  Copyright  1022,  Palmer  Photoplay  Corporation 


HJJy-^  SCREENL&ND  Cdifi™~ 


ittle  HINTS  for  BOOKLOVERS 

Fiction  Reviewed  from  the  Playgoer's  Viewpoint 


MERTON  OF 
THE  MOVIES 

By  Harry  Leon  Wilson. 
Reviewed  by  Frank  Fiske. 

ThE  art  of  the  silver 
screen  is  not  flattered  by 
Mr.  Wilson  in  his  latest 
book.  Merton,  chief  per- 
former, is  one  of  the  most 
enjoyable  characters  to  be 
found  in  the  course  of  a 
reading,  but  his 


summers  i^uu.6 
reactions  to  studio  life  are 
not  likely  to  cause  anyone 
to  take  it  seriously. 

He,  however,  takes  every- 
thing very  seriously.  He  is 
absolutely  devoid  of  a  sense 
of  humor  and  has  a  pro- 
found faith  in  his  mission 
to  uplift  the  art  of  the  film 
and  bring  "something  big- 
ger and  finer"  to  the  pic- 
tures. With  this  lofty  pur- 
pose in  view,  he  leaves  his 
job  as  a  clerk  in  Gash- 
wiler's  general  store,  Sims- 
bury,  111.,  and  journeys  to 
Hollywood. 

Having  previously  pre- 
pared himself  for  his  life 
work  by  taking  a  corre- 
spondence course  in  motion 
picture  acting,  he  presents 
himself,  with  unlimited 
confidence,  to  the  casting 
director.  Not  tor  a  mo- 
ment does  he  suspect  that 
the  "stills"  showing  him  in 
characteristic  poses  will  fail  to  com- 
mand attention. 

They  do  not.  And  neither  does 
Merton.  His  peculiar  talent  is  recog- 
nized the  first  time  he  appears  before 
the  camera  as  an  "extra,"  but  it  is  not 
until  long,  long  after  that  he  comes  to 
a  complete  realization  of  its  nature. 
Tli rough  the  machinations  of  Flips 
Montague,  a  versatile  young  lady  wise 
in  the  workings  of  both  stage  and 
studio,  he  becomes  associated  with 
Jeff  Baird.  a  comedy  director,  who 
solemnly  assures  him  that  he  is  "try- 
ing to  do  something  worth  while,  in- 
stead of  mere  comedies."  Those  are 
Merton's  words- — "mere  comedies." 

Under  the  impression  that  he  is 
playing  the  leading  part  in  a  "serious 
drama,"  the  guileless  youth  works  un- 
der Baird's  direction.  Rejoicing  in  his 
rise  to  stardom,  he  attends  the  show- 


If  WINTER  COMES,  by  A.  S.  M.  Hutchinson.  One  of  the 
greatest  novels  of  our  times.  William  de  Mille  should  have 
been  the  first  to  recognize  this  and  adapt  it  to  the  screen 
with  his  usual  subtlety. 

Theodore  Roberts,  of  course  should  play  Old  Bright. 
Lcatrice  Joy  could  be  Nona,  Lila  Lee,  Erne,  and,  perhaps, 
Charles  Ogle  would  suit  us  as  Mark  Sabre.  We  want  none 
of  your  handsome  leading  men  for  this  part,  but  some  one 
with  real  character  in  his  face  is  needed — in  brief,  an  actor. 
The  counterfeiter  of  Foolish  Wives  would  do  well  for  Humpo 
and  the  "heavy"  whose  misfortune  it  was  to  be  dragged 
around  in  Over  the  Hill  would  suit  us  perfectly  as  Twyning. 
Twyning  must  not  get  off  without  his  proper  punishment,  of 
course.  What  a  scene  they  might  make  where  Sabre  forces 
that  damning  evidence  down  Twyning's  throat! 

Olga  Printzlau  should  do  the  scenario.  She  understands 
those  things.  For  title  to  the  picture,  we  suggest  If  Winter 
Comes. 

But  read  the  book  for  yourself.  It  will  make  you  laugh, 
cry,  think  and  wonder — all  at  the  same  time!  (Little,  Brown.) 

P.  S. — Fox  bought  the  film  rights.  That  spoils  our  review, 
and  the  book,  too,  perhaps. 

M  AN  AND  MAID,  by  Elinor  Glyn.  Miss  Glyn  gives  us 
as  usual  a  story  of  passionate  love  in  high  society.  (Her 
name  is  Alathea — 'miff  said!)    Trivial  stuff.  (Lippincott.) 

Brass,  by  Charles  G.  Norris.  A  most  convincing  and  bril- 
liant novel  of  marriage.  Written  with  rare  insight  and  skill, 
it  holds  throughout  with  the  feeling  that  one  is  witnessing 
the  great  drama  of  Life.  A  book  that  is  coming  to  the  screen 
via  Warner  Bros.  (Dutton.) 

Kimono,  by  John  Paris.  A  grim  but  compelling  story 
of  the  slave  trade  in  Japan,  revolving  around  the  love  of  a 
white  man  for  his  Nipponese  wife.    (Boni  &  Livcright.) 

N  ARCISSUS,  by  Evelyn  Scott.  A  penetrating  study  of 
minds,    spiritually   starved.     Very   well   done.  (Harcourt, 


A  light,  exotic 


PETER  WHIFFLE,  by  Carl  Van  Vechtcn. 
book  vou  will  enjov  as  a  relief  from  the  heavier  novels. 
(Knopf.) 

THE  FLAMING  JEWEL,  by  Robert  W.  Chambers.  An 
unreal  tale  of  unreal  people.  It  will  please  Chambers'  large 
following  because  of  its  exciting  motif.  It  will  no  doubt  find 
its  way  into  playhouses.  (Doran.) 


ton  of  the  Movies  is  to  be 
filmed  is  pregnant  with  pos- 
sibilities. In  fact,  it  forms 
the  theme  for  a  comedy  in 
itself. 


high 


ing  of  his  first  picture.  Disillusion ! 
Baird  had  tricked  him  into  "profaning 
the  sunlit  glories  of  the  great  open 
West  and  its  virile  drama !"  His  seri- 
ous acting  was  "funny,"  and  he  was 
hailed  as  a  new  comedian.  "The  act- 
ing which  had  been  his  soul's 
vision  was  a  thing  for  merriment 

And  in  telling  Merton's  story,  Mr. 
Wilson  makes  the  films  "a  thing  for 
merriment."  He  turns  the  glaring 
light  of  clever  burlesque  on  the  art  of 
the  silent  drama,  and  delicately  probes 
it  here  and  there  with  the  lancet  of 
wit.  He  makes  one  of  his  characters 
refer  to  it  as  the  "Peter  Pan  of  the 
arts,"  intimating  that  it  is  not  only  in 
its  infancy,  but  will  never  grow  up. 
One  gathers  that  the  author's  opinion 
of  screen  drama  is  not  particularly 
complimentary. 

In  view  of  this,  the  report  that  Mer- 


it the  motion  pictures  are 
as  bad  as  Mr.  Wilson  would 
intimate  in  his  book,  Mr. 
Wilson's  story  will  be  made 
ridiculous.  If  they  are  not, 
and  successfully  follow  the 
story,  they  will  be  ridicul- 
ing themselves. 

Still  worse,  suppose  the 
producers  seek  revenge  on 
the  author?  Suppose  that 
they  take  advantage  of  the 
chance  to  turn  the  tables  on 
the  man  who  burlesqued 
the  motion  pictures,  and 
burlesque  his  burlesque. 

There  is  yet  another  dan- 
ger. Just  as  Merton,  seri- 
ous actor  of  high  and  noble 
purpose,  was  excruciating- 
ly funny  on  the  screen,  so 
might  Harry  Leon  Wilson's 
laugh-provoking  novel  be- 
come a  thing  of  pathos  once 
it  was  filmed.  The  path  of 
comedy  leads  along  a  nar- 
row ridge,  with  the  canyon 
of  tragedy  on  one  side  and 
the  slough  of  maudlin  sen- 
timentality on  the  other.  A 
malicious  or  stupid  director 
can  shove  the  author  V 
brain  child  into  either  abyss 
with  a  single  subtle  and  al- 
most imperceptible  push. 
What  better  opportunity  for 
retaliation  against  a  satirist  could  be 
asked : 


1 


THE  GLIMPSES  OF 
THE  MOON 

Bv  Edith  Wharton. 


F  The  Glimpses  of  the  Moon,  a 
brilliant  novel,  becomes  a  motion  pic- 
ture, you  may  be  sure  that  it  will  be 
about  as  dull  and  stupid  as  most  of 
the  other  screen  versions  of  popular 
fiction,  not  because  motion  picture  pro- 
ducers are  fools,  but  because  our 
morals  are  so  rigorously  protected  in 
the  movie  theatre  if  nowhere  else. 

Susy  Branch,  reared  among  the 
smart  members  of  a  brilliant  but  dis- 
solute society  —  "people  with  a  bal- 
ance"— meant  to  wed  when  she  found 
someone  who  combined  the  maximum 
(Continued  on  page  64') 


>3 


IRRESISTIBLE  COMPLEXION  CHARM 

VIA 

BONCILLA 

Facial  Pack 

Boncilla  Beautifier  (Clasmic  Pack)  is  different.  Its  action  goes  to 
the  very  depth  of  the  pores.  It  is  easy  and  pleasant  to  use. 
So  restful  and  refreshing.  Results  from  the  very  first  application. 
Just  cover  the  face  with  this  clasmic  mask  and  rest,  read  or  go  about 
your  work  while  its  soothing  elements  revitalize  and  rejuvenate  the 
muscles  and  tissues  while  it  cleanses  the  pores  and  brings  your  natural 
beauty  to  light. 

Boncilla  Beautifier  is  guaranteed  to  do  these  definite  things  for  the 
face  or  your  money  will  be  refunded. 

1.  Clear  the  complexion  and  give  it  color. 

2.  Cleans  s  and  close  enlarged  pores. 

3.  Remove  blackheads  and  pimples. 

4.  Lift  out  the  Lines. 

5.  Rebuild  drooping  facial  tissues  and  muscles. 
Make  the  skin  soft  and  smooth. 


Obtain  this  "Package  O'  Beauty" 

It  comprises  the  complete  "Boncilla  Pack" 
and  contains  enough  for  3  or  4  facials.  Go 
to  your  nearest  drug  or  department  store 
for  it  or  send  the  coupon  with  50  cents  to  us 
and  we  will  send  it  by  return  mail  postpaid. 
Be  sure  to  get  Boncilla  Beautifier — the  gen- 
uine and  only  clasmic  pack. 


,  Boncilla 
laboratories. 

443  E.  South  St.. 
Indianapolis.  Ind. 
I  enclose  50  cents. 
Please  send  me  by 
return  mail,  postpaid, 
your  Famous  Boncilla 
"Package-O-Beauty." 

Name  

Address  . 

City   State  


54 


SCREENL&ND  C*ii£w* 


T 

JL  HE  two  principal  purposes  of 
Your  Own  Page  are  to  encourage 
readers  to  make  helpful  criticisms  for 
improving  the  magazine  and  to  point 
out  the  improvements  to  come.  But 
the  purpose  to  which  many  readers  put 
it  was  to  make  money.  That  is  why, 
last  month,  the  $25  prize  offer  was 
eliminated. 


But.  although  no  prizes  now  are 
given  for  good  letters  commenting  on 
Screen  land,  they  continue  to  come 
unabated.  The  Anti-Bouquet  Contest 
in  fact,  coaxed  a  surprising  amount  of 
frankness  from  readers  who  hereto- 
fore had  been  too  kind.  And  only  the 
frank  letters  are  helpful. 


So  the  $25  prize  letter  contest  has 
gone;  but  there  are  just  as  many  con- 
test opportunities  in  Screen  land  as 
ever.  There  is  a  new  contest,  be- 
ginning this  month,  on  page  10.  In 
this  contest  $200  in  prizes  will  be 
awarded.  And  instead  of  writing  a 
whole  letter,  all  you  need  to  write  to 
win  a  larger  prize  is  ten  to  twenty 
words. 


Even  Rudyard  Kipling,  for  some  of 
the  finest  stories  he  ever  wrote,  got 
only  one  dollar  a  word.  The  winner 
of  the  first  grand  prize  in  the  Picture 
Title  Contest  can  make  $10  a  word! 


Motion  Pictures  and  printed  litera- 
ture are  rapidly  becoming  greater 
allies.  Theatregoers  who,  in  the  past, 
seldom  read  books,  now  are  buying 
them  because  they  have  become  in- 
terested in  the  stories  on  the  film.  And 
bookreaders  go  to  the  theatres  to  see 
what  the  movies  are  doing  to  their 
favorite  books. 


So,  beginning  with  this  issue.  Little 
Hints  for  Booklovers  (page  52)  has 
developed  into  a  department  that  will 
interest  theatregoers  as  well  as  book- 
lovers.  If  you  have  any  kicks  to 
make  about  the  filming  of  stories  you 
have  enjoyed  reading,  send  your  views 
to  Booklover  Department,  Screen- 
land,  Hollywood,  Calif.  Your  ideas 
will  interest  other  booklovers. 


OWN 


THE  ANTI-BOUQUET 
CONTEST 

  announced  in  Screenland  for 

September  has  brought  to  Your  Own 
Page  many  really  helpful  letters,  of 
which  the  following  is  one.  Read 
this  letter  and  find  how  many  sugges- 
tions of  the  writer  appear  in  this  issue: 

Editor,  Your  Own  Page. 

Dear  Sir:  This  may  be  a  bou- 
quet, but  there  are  a  few  thorns 
among  the  roses.    So  watch  out! 

I've  just  finished  reading  my 
Screenland.  This  month's  Con- 
fessing Interviewer  was  rather 
wary  of  mentioning  names,  but  the 
article  was  interesting.  I  hope 
there  are  more  to  come. 

I  think  your  photograph  repro- 
ductions are  worthy  of  mention. 
They  are  excellent,  and  those  pic- 
tures of  Hollywood  were  intensely 
interesting.   A  novel  idea. 

I  don't  like  your  covers.  There 
is  rarely  any  resemblance  to  the  star 
they  are  supposed  to  represent,  and 
they  are  not  bright  enough  to  catch 
the  eye.  I  have  often  passed  over 
a  copy  while  hunting  for  it  on  a 
news-stand,  whereas  one  could 
hardly  miss  other  picture  publica- 
tions because  of  their  brilliant  colors. 

As  far  as  I  am  concerned,  stories 
like  Mama  the  Manager  could  be 
left  out.  To  my  mind,  it's  very 
silly,  not  at  all  funny,  and  the  print 
is  so  small  my  eyes  ached  before  I 
was  half  way  through.  Why  not 
make  the  magazine  a  little  thicker 
and  space  up  more? 

That  article  about  Rodolph  Val- 
entino by  June  Mathis?  It  was 
awful.  One  would  think  he  was  a 
baby,  whipped  for  stealing  jam. 
when  he  didn't  know  any  better. 
I'm  surprised  at  June. 

Well,  anyway,  your  virtues  great- 
ly outshine  your  faults,  else  I 
wouldn't  always  impatiently  await 
the  next  issue. 

Very  truly  yours, 

Mrs.  James  N.  Kennedy, 

415  South  Fiftieth  street,  West 
Philadelphia.  Pa. 


Page 


J  E  T  of  Cambridge,  Mass.,  wrote 
to  say  that  he  saves  the  crisp  rota- 
gravure  gallery  portraits  in  Screen- 
land  and  is  making  a  book  of  por- 
traits therefrom.  So  many  readers 
have  appreciated  the  portraits  of  past 
issues  that  instead  of  presenting  six  or 
seven  each  month,  at  least  nine  artistic 
camera  studies  will  be  found  in  fol- 
lowing numbers. 


"Have  pity  on  us  and  save  us  from 
the  short  story,"  implores  an  Atlantic 
City  critic.  A  E  W  declares  she 
found  no  interest  in  the  latest  "Mr. 
Bloom"  story.  But  our  pity  comes, 
like  a  wise  man's  praise,  sparingly. 
For  many  other  readers  have  enjoyed 
them.  But  a  series  of  short  stories, 
unlike  any  motion  picture  fiction  you 
have  ever  read  before,  will  begin  in 
an  early  issue. 


"I  was  disappointed  not  to  find  news 
notes  about  the  players,"  writes  R  F 
of  Topeka,  Kas.,  whose  subscription 
began  with  the  August  number. 
Which  allows  us  opportunity  to  an- 
nounce a  new  "Fact"  department — 
"straight  from  Hollywood" — that  be- 
gins in  Screenland  for  November. 
All  of  the  scores  of  amusing,  informa- 
tive episodes  that  are  met  with  daily 
in  being  "made  where  the  movies  are 
made"  will  appear  in  this  crisp,  new 
department.  In  your  next  Screen- 
land. 

"The  Picture  of  the  Month"  will  be 
on  the  first  page  of  the  Little  Hints 
for  Playgoers  department  each  month 
(beginning  with  Blood  and  Sand,  on 
page  37  of  this?.  issue).  It  will  be 
Screenland's  selection  of  all  the 
studio  output  that  is  best  for  dis- 
criminating picture  lovers  to  see. 
When  your  ideas  differ  with  Little 
Hints  send  in  your  criticism.  "Hiss 
the  Bad  Ones"  in  print  as  well  as  in 
your  theatre. 


Miss  M  D  of  Michigan  sent  in  a 
complaint  about  Screenland  covers. 
Always  anxious  to  oblige  a  lady, 
Screenland  for  October  has  the  first 
of  a  series  of  twelve  original  ones 
from  paintings  by  Henry  Give.  If 
Miss  M  D  will  send  us  further  sugges- 
tions in  July,  1923.  we  will  again  has- 
ten to  employ  them. 


iUb~~4.  SCREENLAMD  Crii&«. 


55 


We  Take  Our  Literature  in  Tabloid  Form 

Wc  busv  Americans.  Too  rushed  with  affairs  of  business  and  home-making  to  properly  digest  liter- 
ature of  novel  length,  the  tired  business  man  and  equally  tired  home-maker  in  the  precious  leisure  hours, 
look  eagerly  or  the  short  story,  the  humorous  or  serious  article  the  brief  but  meaty  biography  Brevity, 
Sat  he  who  runs  may  read,  has  given  the  magazine  the  place  of  honor  upon  the  table  beneath  the  reading 
lamp  in  every  American  home.    Excellence  in  small  quantities— that  is  the  American  periodical. 

The  magazines  listed  below  offer  something  of  value  to  every  member  of  your  family. 

By  taking  advantage  of  our  special  clubbing  offers,  you  secure  for  your  family  the  work  of  the  best 
writers  in  the  magazine  field,  the  best  and  at  the  same  time  by  far  the  cheapest  form  of  entertainment  you 
can  find  today  If  the  club  you  prefer  is  not  listed  below,  ask  for  our  lowest  price  on  any  list  of  maga- 
zinc's  you  wish. 

Subscriptions  may  be  new  or  renewals.  Postage  is  free  except  on  foreign  subscriptions  Magazines 
in  any  club nLy  be  sent  to  different  addresses.  This  enables  you  to  make  three  different  gifts  by  order- 
ing one  club  of  three  magazines. 


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(or  Woman's  H.  C.) 
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Motion  Picture  (or 

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SCREENLAND 

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Youth's  Companion 
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|    Newsstand  Value 

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Everybody's 
SCREENLAND 

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People's  Home  Journal 
McCall's 

To-Day's  Housewife 
SCREENLAND 

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-Starred  magazines  must  go  to  same  address. 

Screenland  Magazine 
Club  Department 
Hollywood,  California 

I  accept  your  offer  of  a  Screenland  cluk  of  magazines  at  the  same  money  saving  rates  as  are  offered  above.  Enclosed 

please  find  $    Send  me,  for  one  year  each,  Screenland  and  the  magazines  listed  below. 

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56 


HaQy-ooA  SCREENLAND  Caiifi. 


In  Common 

It  is  a  curious  thought,  how  different  men 
are  in  most  of  their  ideas,  aspirations 
and  habits,  and  yet  how  absolutely 
alike  in  others  . 

For  example,  tomorrow  morning,  be- 
tween the  hours  of  6:45  and  7:30,  about 
fifteen  million  men  will  stand  before 
their  mirrors  in  exactly  the  same  pos- 
tures, go  through  the  same  motions  and 
accomplish  about  the  same  results, 
namely:  they  will  cut  down  that  jungle 
of  ugliness  which  is  everlastingly  push- 
ing out  from  a  man's  hide  and  overrunning 
the  attractive  contours  of  his  face. 

With  this  one  difference.  Something 
over  two  million  men  will  enjoy  the 
process.    The  other  thirteen  million  will 
think  thoughts  they  dare  not  express  unless 
they  are  rough  and  uncouth,  and  which 
I  cannot  even  hint  at  in  this  public  forum. 

Now,  let's  get  down  to  cases  and  be 
practical  and  factful  about  this  inevit- 
able process  of  shaving. 

We  would  all  do  away  with  it  if  women 
would  let  us.    It  takes  time,  at  the  best  is 
a  nuisance,  and  at  the  worst  is  awful. 

I  don't  have  to  tell  you  whether  or  not 
the  soap  you  are  using  is  up  to  the  job. 
I  do  tel!  you  that  in  the  opinion  of  every 
man  who  uses  it,  Mennen  Shaving  Cream 
comes  closer  to  making  shaving  pleasant 
than  any  other  preoaration  ever  invented. 

I  tell  you  that  Mcnnen's  exerts  a 
peculiar  influence  on  a  beard  which 
transforms  its  meanness  into  something 
approaching  benevolence. 

I  tell  you  that  Mennen's  is  so  non- 
irritating  and  so  packed  with  soothing 
lotions  that  all  you  need  afterwards  is 
a  flick  of  neutral-toned  Mennen  Talcum 
for  Men  to  put  you  at  peace  with  the 
world.    Our  Talcum  for  Men,  by  the 
way,  doesn't  show  the  way  white 
powder  docs.    It  is  made  especially  for 
men — fine  for  a  talcum  shower  after 
your  bath  to  protect  your  skin  from 
irritation — and  soothing  after  a  shave. 

So  buy  them  both — Mennen  Shaving 
Cream  and  Mennen  Talcum  for  Men— and 
Solve  this  shaving  question  for  good.  My 
demonstrator  tube  costs  10  cents  by  mail. 

(Mennen  Salesman) 

Th<«  fykrfn<ssrc  ^omwjrw 

357  Central  Ave. 
Newark  N.J.  U.S.A. 


"PUNISH  THE  VILLAIN" 

(Continued  from  page  23.) 


"I  ain't  got  my  nerve  up  yet,"  he 
admitted. 

"Don't  get  it  up,"  she  pleaded; 
"just  give  him  some  more  money 
and  tell  him  not  to  let  it  happen 
again." 

"But  ain't  that  encouraging 
thievery?  Didn't  he  steal  one  of 
my  ideas?" 

"Ain't  you  got  plenty  left?"  she 
purred. 

"But  he  might  steal  again  " 

"And  his  wife  loves  him  so  much 
and  she's  so  proud  of  him,  some- 
thing like  I  am  of  you,  Abie." 

"Mamma,  if  you  don't  stop  cry- 
ing, you  will  make  me  sick."  he 
warned  her. 

"Let  him  go  this  time."  she 
pleaded. 

"You  win,"  he  said,  and  put  his 
arm  around  her,  or,  rather,  as  far 
around  her  as  it  would  go. 

SlTTING  in  the  dark,  with  their 
faces  close  to  each  other,  they 
were  oblivious  to  the  fact  that  Bill 
had  come  to  the  end  of  the  rushes. 
The  wall  at  the  farther  end  of  the 
room  upon  which,  but  a  moment 
before,  had  appeared  the  evidence 
of  Mr.  Kendall's  guilt,  was  now  a 
blank.  The  hum  of  the  projection 
machine  had  ceased,  and  Bill,  after 
a  wondering  glance  through  his 
peep-hole,  had  slipped  out  of  his 
booth  and  gone  out  upon  his  own 
affairs.  Chivalrous  projectionist 
that  he  was.  he  did  not  turn  on  the 
light 

The  light  which  fell  at  last  into 
the  faces  of  Mr.  and  Mrs.  Bloom 
came  from  the  outer  door,  which, 
without  warning,  was  suddenly 
flung  open  by  a  big.  broad-shoul- 
dered man  who  wore  a  white  silk 
shirt  open  at  the  neck,  moleskin 
breeches  and  leather  puttees. 

"Bruce  Wappinger,  the  direc- 
tor," Mr.  Bloom  whispered  to  his 
wife.   "Pretend  we  don't  see  him." 

Mr.  Wappinger  already  was  pre- 
tending that  he  did  not  see  them, 
and,  making  a  transition  from 
amazement  to  absent-mindedness, 
began  to  back  out  of  the  door. 

It  was  Mrs.  Bloom  who  stopped 
him. 

"My  husband  wants  to  tell  you 
something,"  she  said,  and  dropping 
her  voice  to  an  undertone,  whis- 


pered to  Mr.  Bloom.  "Tell  him  it's 
all  right  about  Mr.  Kendall." 

Mr.  Bloom,  evidently  of  the 
opinion  that  he  would  be  more  im- 
pressive if  he  were  upon  his  feet, 
essayed  to  rise,  but  Mrs.  Bloom 
detained  him. 

"What  you  got  to  say,  you  can 
say  where  you  are,"  she  observed. 

"All  I  got  to  say,"  began  Mr.' 
Bloom,  talking  to  the  director,  but 
looking  at  the  floor;  "all  I  got  to 
say  is  that  we  won't  use  that  scene 
showing  the  blind  man  getting  his 
eyesight  back  and  punching  the 
villain." 

"What !"  cried  the  amazed  Wap- 
pinger. "Why,  that's  the  punch 
of  the  picture." 

"Punch  or  no  punch,  we  won't 
use  it,"  affirmed  Mr.  Bloom. 

"We  neither  of  us  care  for  it," 
remarked  Mrs.  Bloom.  "You  see, 
Mr.  Kendall's  wife  is  awful  sick — " 

"You  see  we  won't  use  the 
scene,"  hastily  interposed  her  hus- 
band. "There  ain't  no  necessity  of 
going  into  details.  We  won't  use 
it.   That's  the  final  end  of  it." 

"But  this  is  unfair  to  me,"  pro- 
tested Mr.  Wappinger  warmly; 
"you  don't  know  how  hard  I've 
worked  on  that  scene  " 

"It  shouldn't  have  been  in  the 
script  anyway,"  contended  Mr. 
Bloom.  "Kendall  had  no  right  to 
put  in  that  scene  " 

"Kendall?"  sneered  the  direc- 
tor. "What's  Kendall  got  to  do 
with  it?  I  put  in  that  scene.  Ken- 
dall had  no  more  to  do  with  it  than 
you  had  " 

"Not  so  much,"  declared  Mr. 
Bloom,  and  would  have  said  more 
had  not  his  wife  placed  her  hand 
over  his  mouth. 

But  there  was  no  hand  over 
Bruce  Wappinger's  mouth. 

"Nobody  had  anything  to  do  with 
that  scene  but  me,"  he  announced. 
"I  didn't  like  the  scene  Kendall 
gave  me ;  so  I  wrote  this  one  in." 

"You!"  cried  Mr.  Bloom,  break- 
ing away  from  his  wife's  restrain- 
ing hand:  "you  put  in  all  of  that 
about  the  blind  man  getting  his 
eyesight  back  and  punching  the 
villain." 

"Every  bit  of  it,"  said  Mr.  Wap- 
pinger with  pardonable  pride. 

"You  should  be  ashamed  to  speak 
those  words,"  said  Mr.  Bloom  sad- 
ly.  "You  should  be  ashamed  to  ad- 

(  Continued  on  Page  57) 


ajjywooi  SCREENLAND  <Mifi«*». 


57 


"Punish  the  Villain" 

(Continued  from  Page  56) 

mit  that  you  stole  a  scene  from  a 
picture  I  made  five  years  ago." 

"It  was  something  that  Mr.  Ken- 
dall would  not  do,"  remarked  Mrs. 
Bloom  severely.  "He's  a  first-class, 
honorable  man  " 

"Tsst,  Mamma,"  cautioned  Mr. 
Bloom,  and  turned  to  the  director: 
"I've  known  you  a  long  time,"  he 
went  on  unhappily,  "and  I  never 
knew  you  to  do  anything  crooked 
before.  Maybe  you  got  a  good  ex- 
planation. Maybe  you  really  didn't 
intend  to  steal  the  scene.  Maybe 
you  saw  my  picture  five  years  ago 
and  it  stayed  in  your  mind,  and 
maybe  it  wasn't  you  that  stole  the 
scene  as  much  as  your  unconscious 
memory- 


"Is  that  the  way  you  got  it?" 
asked  Wappinger. 

"Mr.  Bloom  used  it  five  years 
ago,"  remarked  Mrs.  Bloom  airily. 

"I  used  it  ten  years  ago,"  was 
Wappinger's  surprising  announce- 
ment. "Maybe  Mr.  Bloom  didn't 
really  steal  it  from  me.    Maybe  it 

was  his  unconscious  memory  " 

"I  wouldn't  be  surprised,"  said 
Mrs.  Bloom  calmly.  "In  fact,  I 
wouldn't  be  surprised  at  anything 
Mr.  Bloom  would  do." 

>(l  wish  you'd  both  go  away  and 
leave  me  alone,"  muttered  Mr. 
Bloom. 

"I  got  >  to  go,"  said  his  wife, 
brightening;  "I  got  to  tell  Mrs. 
Kendall  that  you've  raised  her  hus- 
band's wages.  You  have,  ain't 
you?" 

"If  you  say  I  have,  I  have,"  he 
answered  hopelessly,  "and  if  Bruce 
says  I  stole  his  scene,  I  did  it,  but 
all  I  can  say  is  that  I  don't  remem- 
ber anything  about  anything." 

"You  should  have  a  medal  for 
being  honest  about  it,  anyway," 
smiled  his  wife,  attaching  herself 
to  his  arm;  "like  that  medal  that 
the  city  of  Chicago  gave  to  Mr. 
Kendall  that  his  little  boy  is  so 
proud  of." 

"Oh,  well,"  sighed  Mr.  Bloom, 
"if  I  had  a  boy  to  be  proud  of  then 
I'd  get  me  a  dozen  medals.  But  I 
]  ain't,  so  all  I  can  do  is  to  apologize 
to  Bruce  for  stealing  his  scene  and 
raise  Kendall's  salary." 

"Abie,"  said  his  wife  fondly, 
"you  are  a  very  fine  feller." 

"There  are  them  that  is  worse," 
said  Mr.  Bloom. 


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MY  TRIP  ABROAD 

(Continued  from  Page  50) 


into  an  ending,  searching,  yearn- 
ing and  wistfully  sad. 

Her  personality  is  written  into 
every  mood  of  the  song.  She  is 
at  once  fine,  courageous,  pathetic 
and  wild.  She  finished  to  an  ap- 
plause that  reflected  the  indiffer- 
ence of  the  place.  In  spots  it  was 
spontaneous  and  insistent.  In 
others  little  attention  was  paid  to 
her.    She  is  wasted  here. 

But  she  cares  not.  In  her  face 
you  can  see  that  she  gets  her  ap- 
plause in  the  song  itself.  It  was 
glorious,  just  to  be  singing  with 
heart,  soul  and  voice.  She  smiles 
faintly,  then  sits  down  modestly. 

I  knew  it.  She  is  Russian.  She 
has  everything  to  suggest  it.  Full 
of  temperament,  talent  and  real 
emotional  ability,  hidden  away 
here  in  Le  Rat  Mort.  What  a 
sensation  she  would  be  in  Amer- 
ica with  a  little  advertising.  This 
is  just  a  thought,  but  all  sorts  of 
schemes  present  themselves  to  me. 

I  can  see  her  in  "The  Follies" 
with  superb  dressing  and  doing 
just  the  song  she  had  done  then. 
I  did  not  understand  a  word  of 
it,  but  I  felt  every  syllable.  Art  is 
universal  and  needs  no  language. 
She  has  everything  from  gentle- 
ness to  passion  and  a  startling 
beauty.  I  am  applauding  too 
much,  but  she  looks  and  smiles, 
so  I  am  repaid. 

They  dance  again,  and  while 
they  are  gone  I  call  the  waiter 
and  have  him  explain  to  the  man- 
ager that  I  would  like  to  be  pre- 
sented to  her.  The  manager  in- 
troduces her  and  I  invite  her  to 
my  table.  She  sits  there  with  us, 
while  her  companion,  the  dark 
girl,  does  a  solo  dance. 

She  talks  charmingly  and  with- 
out restraint.  She  speaks  three 
languages — Russian,  French  and 
English.  Her  father  was  a  Rus- 
sian general  during  the  czar's 
reign.  I  can  see  now  where  she 
gets  her  imperious  carriage. 

"Are  you  a  bolshevik?" 

She  hushes  as  I  ask  it,  and  her 
lips  pout  prettily  as  she  strug- 
gles with  English.  She  seems  all 
afire. 

"No;  they  are  wicked.  Bolshe- 
vik man,  he's  very  bad."  Her  eyes 
flash  as  she  speaks. 

"Then  you  are  bour^eoise?" 

"No.  but  not  a  bolshevik."  Her 
voice  suggests  a  tremendous  vital- 
ity, though  her  vocabulary  is  lim- 


ited.   "Bolshevik  good  idea  for 
the  mind,  but  not  for  practice." 

"Has  it  had  a  fair  opportunity?" 
I  ask  her. 

"Plenty.  My  father,  my  mother, 
my  brother  all  in  Russia  and  very 
poor.  Mother  is  bolshevik,  father 
bourgeoise.  Bolshevik  man  very 
impudent  to  me.  I  want  to  kill 
him.  He  insult  me.  What  can  I 
do?  I  escape.  Bolshevik  good 
idea,  but  no  good  for  life." 

"What  of  Lenin?" 

"Very  clever  man.  He  tried 
hard  for  bolshevik — but  no  good 
for  everybody — just  in  the  head." 

I  learn  that  she  was  educated  in 
a  convent  and  that  she  had  lost  all 
trace  of  her  people.  She  earns  her 
living  singing  here.  She  has  been 
to  the  movies,  but  has  never  seen 
me.  She  "is  go  first  chance  be- 
cause I  am  nice  man." 

I  ask  her  if  she  would  like  to  go 
into  moving  pictures.  Her  eyes 
light  up.  "If  I  get  opportunity  I 
know  I  make  success.  But" — she 
curls  her  mouth  prettily  —  "it's 
difficult  to  get  opportunity." 

She  is  just  twenty  years  old 
and  has  been  in  the  cafe  for  two 
weeks,  coming  there  from  Tur- 
key, to  which  country  she  fled 
following  her  escape  from  Russia. 

I  explain  that  she  must  have 
photographic  tests  made  and  that 
I  will  try  to  get  her  a  position  in 
America.  She  puts  everything  in- 
to her  eyes  as  she  thanks  me.  She 
looks  like  a  combination  of  Mary 
Pickford  and  Pola  Negri  plus  her 
own  distinctive  beauty  and  per- 
sonality. Her  name  is  "Skaya." 
I  write  her  full  name  and  address 
in  my  book  and  promise  to  do  all 
I  can  for  her.  And  I  mean  to. 
We  say  "Good  night,"  and  she 
says  she  feels  that  I  will  do  what 
I  say.   How  has  she  kept  hidden  ? 

DuE  at  Sir  Philip  Sassoon's 
for  a  garden  party  the  next  day, 
I  decide  to  go  there  in  an  air- 
plane and  I  leave  the  Le  Bour- 
get  airdrome  in  Paris  in  a  plane 
of  La  Compagnie  des  Messageries 
Aeriennes,  and  at  special  request 
the  pilot  landed  me  at  Lympne  in 
Kent  and  I  thereby  avoided  the 
crowd  that  would  have  been  on 
hand  in  London. 

It  was  quite  thrilling  and  I  felt 
that  I  made  a  very  effective  en- 
trance to  the  party. 

(Continued  on  Page  50) 


J.M.LYON  LCO. 

2-4  Maiden  Lane  N  Y 

In  Business  xteax'ly  100years\ 


Hoiiy™*!.  SCREENLAND  C»iift«uv 


59 


MY  TRIP  ABROAD 

(Continued  from  page  58) 

And  what  a  delightful  retreat! 
All  the  charm  of  an  English  coun- 
try home,  and  Sir  Philip  is  a  per- 
fect host.  I  get  English  food  and 
treatment.  I  have  a  perfect  rest, 
with  no  duties,  and  entertainment 
as  I  desire.  A  day  and  a  half  that 
are  most  pleasant ! 

Next  day  there  is  to  be  a  cere- 
monial in  the  schoolhouse,  when  a 
memorial  is  to  be  unveiled.  It  is 
in  honor  of  the  boys  of  the  town 
who  had  fallen.  There  are  moth- 
ers, fathers,  and  many  old  peo- 
ple, some  of  them  old  in  years, 
others  aged  by  the  trials  of  the 
war. 

The  ^simple  affair  is  most  im- 
pressive and  the  streets  are  crowd- 
ed on  our  way.  I  was  to  blame 
for  an  unhappy  contrast.  Outside 
people  were  shouting  "Hooray 
for  Charlie!"  while  inside  souls 
were  hushed  in  grief. 

Such  a  discordant  note.  I 
wished  I  had  not  been  so  prom- 
inent. I  wanted  every  one  to  bow 
in  respect  to  these  dead.  The 
crowds  did  not  belong  outside. 

And  inside,  on  the  little  chil- 
dren's faces,  I  could  see  conflict- 
ing emotions.  There  is  the  rever- 
ence for  the  dead  and  yet  there  is 
eagerness  as  they  steal  glances 
at  me.  I  wish  I  hadn't  come.  I 
feel  that  I  am  the  disturbing  ele- 
ment. 

From  the  school  Sir  Philip  and 
I  went  to  the  Star  and  Garter  hos- 
pital for  wounded  soldiers.  Sheer 
tragedy  was  here. 

Young  men  suffering  from 
spinal  wounds,  some  of  them  with 
legs  withered,  some  suffering 
from  shell  shock.  No  hope  for 
them,  yet  they  smiled. 

There  was  one  whose  hands 
were  all  twisted  and  he  was  paint- 
ing signs  with  a  brush  held  be- 
tween his  teeth.  I  looked  at  the 
siens.  They  were  mottoes:  "Arc 
We  Downhearted?"  "Never  Say 
Die."   A  superman. 

Here  is  a  lad  who  must  take 
an  anaesthetic  whenever  his  nails 
are  cut  because  of  his  twisted 
limbs.  And  he  is  smiling  and  to 
all  appearances  happy.  The  ca- 
pacity that  God  gives  for  suffer- 
ing is  so  tremendous.  I  marvel 
at  their  endurance. 

I  inquire  about  food  and  gen- 
eral conditions.  They  suggest 
that  the  food  could  be  better. 
This  is  attended  to. 

( Continued  on  Page  6j) 


The  Girl  He  Left  Behind 


By  Edith  Erwin 


"Mary  Lou!  t  toot  / 
you  for  a  flower !" 


Bruce  Webster 
had  gone  up  to 
the  city  to  make 
his  fortune.  And 
Mary  Louise  Kenyon 
had  gone  back  home 
(after  the  train  had 
whizzed  itself  away 
into  a  dot  on  the 
horizon)  to  keep  her 
mother's  cottage  fresh 
and  bright,  to  write 
long,  newsy  letters 
— and  once  in  a  while 
a  whimsically  tender 
little  note  which  she 
mailed  blushingly. 

And  then — Stella 
Anthony  went  up  to 
the  city,  too ! 

  ,        gatped  Bruce.  "B'J 

There  was  much  George,  I  didn't 
news  in  Brace's  next  know  mi>  eret  were 
letter.    What  do  you  «o  starved." 

think !  His  employer's 
son  was  a  fraternity 

brother !     A  regular  *   

fellow,  Joe.    Invited  him  to  a  stag  party  next 

week. 

And — oh,  yes— whom  do  you  suppose  he  met 
coming  out  of  the  office  the  other  evening?  A 
home  town  girl !  It  surely  was  good  to  see  any 
one  from  home.  A  lucky  coincidence,  her  pass- 
ing that  moment.  She  was  so  delighted— had 
been  so  lonely  in  the  city. 

Mary  Lou  let  the  letter  flutter  to  the  floor. 
Coincidence !  Lonely !  It  was  amusing,  if  one 
happened  to  be  in  the  mood  for  amasement. 
Stella  Anthony  was  perfectly  capable  of  guiding 
the  long  arm  of  coincidence  with  her  own  firm 
hand. 

Brace's  letters  grew  less  frequent,  but  told 
of  good  times,  for  Joe  was  taking  him  to  parties 
and  the  country  club.  But  he  didn't  forget  the 
old  town.  He  and  Stella  compared  letters  and 
kept  up  with  the  news,  he  said. 

"But  there  ought  to  be  a  way."  Mary  Lou 
dug  her  nails  into  her  palms.  'It— it  isn  t  fan- ! 
And  be — wouldn't  really  be  happy.  Oh— I  must 
find  a  way." 

Something  inside  of  her  set  to  work  intently 
— seemed  to  whisper,  "Don't  give  up  yet.  Don  t 
give  up  yet." 

MAYBE  it  was  this  something  that  led  her 
to  buy  a  once-favorite  magazine  one  day. 
Mary  Lou  had  stopped  getting  it,  for  she  didn't 
like  to  read  love  stories  any  more.  But  she  took 
it,  anyway,  and  that  night  picked  it  up  dis- 
consolately. 

The  pages  fell  open  at  a  story.  Something 
made  her  begin  it  eagerly.    Then  she  re-read  it. 

"Why  I  wonder — "  whispered  Mary  Lou.  And 

she  read  it  a  third  time.    "They  say  men  always 

jjke  "     After  which  she  resolutely  took  pen 

and  ink,  then  ran  out  to  mail  a  letter  in  the 
dusk. 

Then,  for  the  rest  of  the  summer,  Mary  Lou 
was  very  busy  in  a  mysterious  sort  of  way. 

When  Bruce  got  a  vacation  late  in  October. 
Springdale  was  not  surprised  that  Stella  Anthony 
managed  to  get  a  vacation  then,  too. 

Yet  Mary  Lou  was  remarkably  unruffled  by 
this  later  news.  And  there  was  a  mystifying 
twinkle  in  her  eye!  It  remained  there,  even 
when  Bruce  failed  to  come  over  the  day  he 
arrived,  and  the  second  day  of  his  absence  failed 
to  entirely  dim  its  light. 

That  afternoon,  the  gate  at  last  opened  to  a 
familiar  hand,  a  well-known  footfall  sounded — 
stopped — 

Over  in  a  corner  of  the  garden  was  what 
might  reasonably  be  taken  for  a  chrysanthemum, 
one  of  those  huge  yellow,  fringy  ones.  But  never 
yet  did  chrysanthemums  boast  silken  hose  and 
*  buckled  slippers. 

"Mary  Lou!  I  took  you  for  a  flower!"  gasped 
Bruce.  "By  George,  I  didn't  know  my  eyes 
were  so  starved." 

NOT  only  Bruce,  but  all  Springdale,  was  sur- 
prised at  the  wonderful  new  clothes  of 
Mary  Lou.  Surprised  at  the  gay  little  sports 
frock,  with  its  orange  scallops ;  astonished  at  the 
charming  rose  jersey  touched  by  a  lavish  hand 
with  wool  embroidery.  Dazzled  by  the  crisp, 
jaunty  little  things  Mary  Lou  slipped  on  of 


mornings;  bewildered 
by  the  frillier  gar- 
ments in  which  she 
bloomed  later  in  the 
day.  Not  to  mention 
lace  and  silken  mys- 
teries  glimpsed 
through  filmy  blouses. 
Stella  Anthony  in  her 
dark,  tailored  things 
was  almost  unnoticed. 

Mary  Lou  kept  the 
pink  dotted  swiss  for 
the  last  evening.  A 
little  girl  sort  of  a 
frock  it  was,  with 
Mary  Lou  nervously 
twisting  her  pink 
ribbons. 

"The  sweetest  of 
all,"  was  Bruce's  ver- 
dict. "Mary  Lou,"  he 
bent  suddenly  toward 
her.  "Don't  ever  wear 
anything  but  those 
dainty,  frilly  things. 
A  man— out  in  the  world— likes  to  know  there's 
a  cool  little  island  of  a  home  somewhere,  with 
somebody  waiting.  Somebody  in  soft,  feminine 
things — "    Then  he  stopped. 

"I've  no  right  to  ask  you.  You're  used  to 
lovely  things— it  will  be  some  time  befoie  1 
can  afford — " 

"Oh— if  that's  ell  the  objection,"  said  Mary 
Lou,  brazenly. 

Comfortably   snuggled  against  his   ana  she 
told  him,  later  in  the  evening. 

"I  wanted  pretty  things  more  this  year  than 
ever  before.  For — well,  just  because.  But  I 
couldn't  afford  any— and  I  wasn't  trained  to 
earn  money.  Then,  one  day,  I  read  of  a  school, 
the  Woman's  Institute,  in  Scran  ten,  Pennsyl- 
vania, that  teaches  girls  and  women,  right  in 
their  homes,  to  sew.  Just  think  what  that 
means.  Why,  one  can  have  prettier  clothes  for 
a  fourth  the  usual  price. 

"I  just  felt  I  could  learn,  for  I  wanted  to.  so 
l  adly.  So  I  began  the  lessons.  And,  do  you 
know — I  started  right  in  making  actual  gar- 
ments. After  just  a  few  weeks  I  made  my 
first  dress.  I  made  some  things  for  mother 
and  then  some  cunning  dresses  and  rompe  s  for 
a  neighbor's  children.  This  brought  me  enough 
money  to  buy  the  yellow  organdie  that  you 
liked  so  much. 

"Since  then  everything  has  been  easy,  for  if s 
such  fun  to  plan  and  make  clothes  when  you 
know  how.  So  many  people  want  me  to  sew 
for  them — why,  I  could  open  a  little  shop  if  I 
wanted  to." 

"But  you  a-e  not  going  to !"  wbis-Jered  Bruce. 
"Christmas,  isn't  it  V 

TT7HAT  Mary  Lou  <IM.  you  can  Co.  too.  There 
VY  is  not  the  slightest  doubt  about  it.  More 
'.ban  140,000  women  and  girls  in  city,  town 
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women  and  girls  all  over  the  world,  the  happi- 
ness of  having  dainty,  becoming  clothes  and 
hats,  savings  almost  too  good  to  be  true,  and 
the  joy  of  being  independent  in  a  successful 
business. 

 TEAR  OUT  HERE  

WOMAN'S  INSTITUTE 
Dept.  100-K,  Scranton,  Penna. 

Without  cost  or  obligation,  please  send  me  one 
of  your  booklets  and  tell  me  how  I  can  learn  the 
subject  which  I  have  marked  below : 


□  Home  Dressmaking 

□  Professional  Dressmaking 


□  Millinery 

□  Cooking 


Name  


(Please  specify  whether  Mrs.  or  Miss) 
Address  .. — .- —  ~  '••  


60 


Latest  Photograph  of  Earle  E.  Lledermaa 

If  you  were  dying 

A.  •     -1     M,  an<i  I  offered  you  something 

jLO  n  1  grl  Bl  tliat  would  give  you  ten 
years  more  to  live,  would  you 
take  It?  You'd  grab  It.  Well  fellows,  I've  got  it, 
but  don't  wait  till  you're  dying  or  it  won't  do  you 
a  bit  cf  good.  It  will  then  be  too  late.  Bight  now 
is  the  time.  To-morrow,  or  any  day  some  disease  will 
get  you  and  if  you  have  not  equipped  yourself  to  fight 
it  oir,  you're  gone.  I  don't  claim  to  cure  disease.  I 
am  not  a  medical  doctor,  but  I'll  put  you  in  such 
condition  that  the  doctor  will  starve  to  death  waiting 
for  you  to  take  sick.  Can  you  imagine  a  mosquito 
trying  to  bite  a  brick  wall!    A  fine  chance. 

A  REBUILT  MAN 

I  like  to  get  the  weak  ones.  I  delight  in  getting 
houl  of  a  man  who  has  be^n  turned  down  as  hopeless 
by  others.  It's  easy  enough  to  finish  a  task  that's 
more  tnan  half  done.  But  give  me  the  weak,  sickly 
chap  and  watch  him  grow  stronger.  That's  what  I 
like.  It's  fun  to  me  because  I  know  I  can  do  it  and  I 
lik'o  to  give  the  other  fellow  the  laugh.  I  don't  just 
give  you  a  veneer  of  muscle  that  looks  good  to  others. 
I  work  on  you  both  inside  and  out.  I  not  only  put 
big.  massive  arms  and  legs  on  you  but  I  build  up 
those  inner  muscles  that  surround  your  vital  organs. 
The  kind  that  give  you  real  pap  and  energy,  the  kind 
that  fire  you  with  ambition  and  the  courage  to  tackle 
anything  set  before  you. 

ALL  I  ASK  IS  NINETY  DAYS 

Who  says  it  takes  years  to  set  in  shape?  Show  me 
the  man  who  makes  any  such  claims  and  I'll  make 
him  eat  his  words.  I'll  put  cne  full  inch  on  your  arm 
in  just  30  days.  Yes,  and  two  full  inches  on  your 
uhe&t  in  the  same  length  of  time.  Meanwhile,  I'm 
putting  life  and  pep  into  your  old  back-bone.  And 
from  then  on,  just  watch  'em  grow.  At  the  end  of 
thirty  days  you  won't  know  yourself.  Your  whole 
body  will  take  on  an  entirely  different  appearance. 
But  you've  enly  started.  Now  comes  the  real  works. 
I've  only  built  my  foundation.  I  want  just  60  days 
more  (90  in  all)  ant',  you'll  make  these  friends  of 
yours  that  think  they're  strong  look  like  something 
the  cat  dragged  in. 

A  REAL  MAN 

When  I'm  through  with  you,  you're  a  real  man. 
The  kind  that  can  prove  it.  You  will  be  able  to  do 
things  that  you  had  thought  impossible.  And  the 
beauty  cf  it  is  you  keep  on  going.  Your  deep  full 
cuest  breathe;  in  rich  pure  air  stimulating  your  blood 
and  making  you  just  bubble  over  with  vim  and  vitality. 
Your  huge,  square  shoulders  and  your  massive  mus- 
cular arms  have  that  craving  for  the  exercise  of  a 
regular  he  man.  You  have  the  flash  to  your  eye  and 
toe  pep  to  your  s:ep  that  will  make  you  admired  and 
sought  after  in  both  the  business  and  social  world. 

This  Is  no  idle  prattlo,  fellows.  If  you  doubt  me, 
make  me  prove  It.  ahead.     I  lii»  it.     I  have 

already  done  this  for  tLousands  cf  others  and  my 
records  are  unchallenged  What  I  have  done  for  them. 
I  win  do  for  you.  Come  then,  for  time  flies  and  every 
day  counts.  Let  this  very  day  be  the  beginning  of  new 
life  to  you.       SEND  FOB  MY  BOOK 

"MUSCULAR  DEVELOPMENT" 

It  is  chock  full  of  large  size  photographs  of  both 
myself  and  my  numerous  pupils.  Also  contains  a 
treatise  on  the  human  body  and  what  can  be  done 
with  it.  This  boot.1  is  bound  to  interest  you  and  thrill 
you.  It  will  be  an  Impetus — an  inspiration  to  every 
red  blooded  man.  I  could  easily  collect  a  big  price 
for  a  book  of  this  kind  just  as  others  are  now  doing, 
but  I  want  every  man  and  boy  who  la  interested  to 
just  send  the  attached  coup --n  and  the  book  is  hia 
absolute  y  free.  All  I  ask  you  to  cover  is  the  price  of 
wrapping  and  postage — 10  cents.  Remember  this  does 
not  obligate  you  in  any  way.  I  want  you  to  have  it. 
So  it's  yours  to  keep.  Now  don't  delay  one  minute— 
this  may  be  the  tumlnjr  point  In  your  life  today.  So 
tear  off  the  coupon  and  mail  at  once  while  it  is  on 
your  mind. 

EARLE  E.  LIEDERMAN 

Dept.  408.  305  Broadway.  New  York 

EARLE  E.  LIEDERMAN 

Dept.  409,  305  Broadway,  N.  V.  Cl'y 

Dear  Sir: — I  enclose  herewith  10  cents  for  which 
you  are  to  send  me,  without  any  obligation  on  my 
part  whatever,  a  copy  of  your  latest  book,  "Muscular 
Development."     (Please  write  or  print  plainly.) 

Name    _     

Address    .  ,  

City     


State   


Behind  the  Camera 
with  Elinor  Glyn 

(Continued  from  Page  47.) 


prices  set.  A  release  date  is  then  set 
for  the  release  of  the  picture  to 
theatres  all  over  the  country.  This 
release  date  is  adhered  to  as  closely 
as  possible. 

It  is  sometimes  necessary,  how- 
ever, to  give  an  exhibitor  a  pre- 
release on  a  picture,  that  is,  to  let 
him  show  it  prior  to  the  regular  re- 
lease date.  This  has  frequently 
been  the  case  with  Grauman's  The- 
atre in  Los  Angeles.  Mr.  Adolph 
Zukor,  president  of  Famous  Play- 
ers-Lasky  Corporation,  and  Mr. 
S.  R.  Kent,  head  of  the  system  of 
distribution,  are  the  only  two  of- 
ficials having  authority  to  sanction 
a  pre-release. 

The  -final  rental  price  of  a  pic- 
ture, however,  is  set  after  a  careful 
consideration  of  conditions  apper- 
taining to  the  individual  theatre  in 
question.  These  are  the  population 
of  the  town  or  city,  the  class  of 
theatre,  whether  a  first-run,  second- 
run  or  suburban  house,  the  drawing 
population  of  the  theatre,  the  seat- 
ing capacity  of  the  theatre,  and  last, 
but  not  least,  the  average  amount 
of  business  that  that  particular  the- 
atre has  been  doing  in  the  past. 
Oftentimes  the  exhibitor  has  to 
furnish  a  sworn  statement  of  the 
amount  of  business  that  he  has  been 
doing.  In  other  words,  the  system 
is  designed  for  fairness  to  the  in- 
dividual exhibitor,  all  circumstances 
bemg  weighed  in  deciding  the  rental 
price  to  that  exhibitor. 

A  scale  of  rental  prices  is  set  for 
different  classes  of  showings.  For 
instance,  a  first-run  showing  of  a 
film  in  a  city  will  demand  a  top 
price.  The  price  for  the  second 
showing  of  the  same  film  in  the 
same  city  will  be  lowered  about 
seventy  per  cent.  The  rental  price 
for  the  third  showing,  perhaps  in  a 
suburban  house,  will  be  still  lower, 
and  on  down  the  line.  In  other 
words,  the  more  often  a  picture  is 
shown  the  lower  the  rental  price. 


/\FTER  "Beyond  the  Rocks" 
showed  at  Grauman's  Rialto  The- 
atre in  Los  Angeles,  out  of  fair- 
ness to  that  first- run  exhibitor,  the 
picture  was  not  shown  at  a  second- 
run  house  until  a  period  of  from 
thirty  to  forty-five  days  had  elapsed 
after  the  first  showing.  This  is  a 


protective  measure  for  the  first-run 
exhibitor  who  pays  the  top  price. 

The  film  salesmen  are  assigned  to 
zones  into  which  the  exchange  ter- 
ritory is  divided.  The  salesman 
rents  as  many  pictures  to  each  the- 
atre exhibitor  as  he  can  and  by  ar- 
ranging with  the  booker  makes 
exact  play  dates  on  a  number  of 
attractions  at  the  time  of  the  sign- 
ing of  the  contract.  All  salesmen's 
contracts  are  subject  to  the  ap- 
proval of  the  manager  and,  if  of 
considerable  size,  to  the  approval 
of  the  parent  office.  This  is  to  pre- 
vent clashes  in  showing  dates. 

The  accessories  department  of 
the  exchange  keeps  in  stock  a  com- 
plete supply  of  posters,  slides, 
heralds  and  advertising  cuts  for  the 
use  of  the  exhibitors  showing  the 
pictures. 

Regarding  the  handling  of  the 
film — when  it  first  comes  to  the  ex- 
change it  is  packed  in  a  regulation 
galvanized  iron  container.  There  it 
is  inspected  and  run  through  a 
preparation  of  cocoa  butter  and 
paraffin  to  protect  the  emulsion 
from  the  intense  heat  of  the  pro- 
jection machine.  After  a  theatre 
showing,  the  film  must  come  back 
to  the  exchange  for  reinspection 
and  shipment  to  the  next  theatre 
which  has  contracted  for  it  Films 
are  usually  shipped  to  exhibitors  by 
express  or  parcel  post,  but  even 
aeroplanes  have  sometimes  been 
used  in  case  of  rush  shipments. 

CHAPTER  TWENTY. 
Theatre  Exhibition. 

T"hE  fourth  great  branch  of  the 
motion  picture  industry  is  the  exhi- 
bition of  the  pictures  in  the  thea- 
tres. Today  the  exhibitor  plans  his 
presentation  with  the  same  pains 
that  a  stage  producer  plans  a  big 
stage  production. 

The  principal  features  of  presen- 
tation are  the  music,  the  effects, 
the  scenic  prologue  and  the  ex- 
ploitation. Big  exhibitors  often 
plan  for  weeks  in  advance  a  future 
exhibition  program,  rehearsing  the 
players  for  the  prologue  and  lining 
up  the  electrical  effects,  musical 
program,  etc. 

In  arranging  for  the  presentation 
of  the  Paramount  picture,  "Beyond 
(Continued  on  Page  61) 


Hollywood.  Screen  land  c^ifi™* 


61 


Behind  the  Camera 
with  Elinor  Glyn 

(Continued  from  Page  60) 

the  Rocks,"  Sid  Grauman  of  Los 
Angeles,  one  of  the  biggest  exhib- 
itors in  America,  considered  every 
angle  of  the  story  in  order  to  choose 
the   most    important    episode  on 
which  to  base  the  prologue.  He  felt 
the  Swiss  Alps  would  form  a  pic- 
turesque  setting,   or,   perhaps,  a 
glimpse  of  the  gay  Parisian  cafe. 
Even  the  English  estate  would  offer 
a  chance  to  develop  a  pleasing 
scene.  However,  he  finally  decided 
that  the  amazing  display  of  beauti- 
ful  gowns   worn  by  the  exotic 
Gloria  Swanson  was  a  more  typical 
motif  of  both  star  and  story.  There- 
fore, he  had  his  spacious  stage 
transformed    into    a  fashionable 
home  and  engaged  models  to  ex- 
hibit the  season's  most  luxurious 
costumes,  with  several  artistic  nov- 
elties introduced  such  as  society 
dances  and  a  soloist  or  two. 

In  this  way  the  thoughts  of  the 
audience  were  being  led  into  har- 
mony with  the  luxury  and  the 
beauty  of  the  film,  with  its  keynote 
of  youthful  romance  and  when 
"Beyond  the  Rocks"  began  to  un- 
reel everyone  was  in  complete  sym- 
pathy with  the  youthful  lovers 
battling  against  a  love  that  was 
denied  them. 

The  musical  program  accom- 
panying the  picture  was  doing  its 
share  also,  for  it  included  all  the 
famous  love  songs,  with  Liszt's 
magnificent  "Liebestraum "  that 
has  thrilled  the  hearts  of  all  lovers, 
acting  as  a  golden  chain  to  hold  the 
other  marvelous  melodies  in  place. 


The  Love  Pirate 

(Continued  from  page  45) 

"Not  just  now,"  Grattan  inter- 
rupted smilingly,  "she's  busy,  I'm 
quite  sure." 

He  pointed  off  to  where  Vera 
Shelby  stood  leaning  against  the 
rail  while  a  tall  young  man,  stand- 
ing very  close  and  holding  one  of 
her  hands,  murmured  eagerly  into 
her  ear.  And  Grattan  noted  that 
she  listened  with  downcast  eyes. 

"We'll  talk  to  her  about  all  this 
tomorrow,"  the  director  went  on. 
"Just  at  this  moment  she's  hearing 
something-  very  important  from 
our  leading  man— Mr.  Truesdale." 


How  the  Shape  of  My  Nose 
Delayed  Success 


By  EDITH  NELSON 


I HAD  tried  so  long  to  get  into  the  movies.  My  Dramatic 
Course  had  been  completed  and  I  was  ready  to  pursue 
my  ambitions.  But  each  director  had  turned  me  away 
because  of  the  shape  of  my  nose.  Each  told  me  I  had  beau- 
tiful eves  mouth  and  hair  and  would  photograph  well — but 
my  nose  was  a  "pug"  nose— and  they  were  seeking  beauty. 
Again  and  again  I  met  the  same  fate.  I  began  to  analyze 
mvself  I  had  personality  and  charm.  I  had  friends.  I 
was  fairly  well  educated,  and  I  had  spent  ten  months 
studying  Dramatic  Art.  In  amateur  theatricals  my  work 
was  commended,  and  I  just  knew  that  I  could  succeed  in 
motion  pictures  if  only  given  an  opportunity.  I  began  to 
wonder  why  I  could  not  secure  employment  as  hundreds  of 
other  girls  were  doing. 

FINALLY,  late  one  afternoon,  after  another  "disappoint- 
ment ".  I  stopped  to  watch  a  studio  photographer  who 

was™aking  some  still  pictures  of  Miss  B  ~.  a  well-known 

star     Extreme  care  was  taken  in  arranging  the  desired 
poses!     "Look  up.  and  over  there.';,  said  th^hotographer, 

Minting  to  an  object  at  my  right,  "a  profile  .      Oh,  yes. 

J£S      ~ld Miss  B  .  instantly  following  the  suggestion  by 

ayssumint  a  pose  fn  which  she   loosed    more   charming  than 
ever    I  watched.  I  wondered,  the    camera    clicked.      As  Miss 
walked  away.  I  carefully  studied  her  features   her  lips 

heTlvesher  nose  .    "She  has   the    most    beautiful    nose  I 

have  over  seen "  ilald.  half  audibly.  "Yes.  but  I  remember  " 
«Sd  Mil*  B— 'a  maid,  who  was  standing  near  me.  "when  she 
Sad  a  "Sug-  nose  and  she  was  only  an  extra  girl,  but  look  at  her 
now.    How  beautiful  she  is." 

TN  a  flash  my  hopes  soared.  I  pressed  my  new-made  acquamt- 
1  ance  for  further  comment.  Gradually  the  story  was  unfolded 
to  me?  Mlss  B— -  had  had  her  nose  reshaped  —  yes.  actually 
ooi^ected^actuallv  made  over,  and  how  wonderful,  how  beaut,- 
f Si  f  was  now 7  This  change  perhaps  had  been  the  turning 
noint  in  her  career!  It  must  also  be  the  way  of  my  success! 
-hCw  did  she  accomplish  it?"  I  asked  feverishly  of  my .friend. 
wTs  informed  that  M.   Trilety.  a  face  specialist  of  B.ngham- 

ton!  New  York,  had  accomplished  this  for  Miss  B   in  the 

privacy  of  her  home!  . 

T  THANKED  my  Informant  and  turned  back  to  my  home,  ae- 
I  termined  that  the  means  of  overcoming  the  obstacle  that 
had  hindered  my  progress  was  now  open  for  me.     I  was  bub- 


bling over  with  hope  and  joy.  I  lost  no  time  in 
writing  M.  Trilety  for  information.  I  re?eivea 
f^ll  particulars.  The  treatment  was  so  simple 
the  cost  so  reasonable,  that  J  decided  to  pur 
chase  it  at  once.  I  did.  I  c°ul<*  naFd1^  *  ^1,:° 
beein  treatment.  At  last  it  arrived.  To  make 
„f"ton short— in  five  weeks  my  nose  was  cor- 
ded Ina  I  easily  secured  a  regular pos Itton 
with  a  producing  company.  I  am  now  ctimo 
ing  fast — and  I  am  happy. 

ATTENTION  to  your  personal  appearance  is 
nowadays  essential  if  you  expect  to  succeed 
in  life  You  must  "look  your  best"  at  all  times. 
Tom  nose  may  be  a  hump,  a  hook  a  pug  flat. 
Ion"  "pointed.Voken    "ut  the  appliance  of  M 

^letsyhaper  ~RADol."  Modef  S*  tTl  Patent 
w^?h  sfx  adjustable  pressure  regulators  and 
made  cf  light  polished  metal,  corrects  BowlH- 
^aped  noses  without  operation,  quickly,  safelv. 

LEARN  MOVIE  ACTING 

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Booklet  on  Movie  Acting  Included  FREE. 
Film  Information  Bureau,  Station  5 

JACKSON,  MICH.  


and  permanently  (diseased  cases  excepted)  Is 
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occupation,  being  worn  at  night. 

CLIP  the  coupon  below,  insert  your  name  and 
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Trilety.  Binghamton.  N.  Y.,  for  the  free  booklet 
which  tells  vou  how  to  correct  ill-shaped  noses. 
Your  money  refunded  if  you  are  not  satisfied, 
is  his  guaranty. 


1787  Ackerman  Bldg.,  Binghamton,  N.  x. 

Dear  Sir:  Please  send  me  without  obliga- 
tion, your  booklet  which  tells  how  to  correct 
ill-shaped  noses. 

Name  "•" 

Street  Address  

Town   

State  


SupprfiuoujHAIRaliWNE 


Forever  removed  by  the 
Mahler  Method  which  kills  the 
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LIQUID  LASHLUX 


It's  Waterproof 

VOU  don't  know  how  attractive 
1  your  eyes  can  be  until  you 
see  them  veiled  by  dark,  luxuri- 
ant lashes. . 

With  LIQUID  LASHLUX  you  can 
bead  your  lashes,  making  them  ap- 
pear longer  and  darker.  Apply  with 
the  glass  rod  attached  to  the  stop- 
per of  the  bottle.  The  liquid  dries 
instantly  and  it  lasts!  Tou  can  swim 
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CONFESSIONS  of  a  STAR 
INTERVIEWER 


(Continued  from  page  36.) 


I  didn't  feel  the  scene,  he  would 
send  me  home." 

The  director,  who,  although  no 
Griffith,  had  directed  successfully 
several  stars  of  greater  magnitude 
than  Miss  Marsh,  stood  this  as  long 
as  he  could  and  then  said : 

"Mr.  Griffith  is  not  directing 
you.  We  could  all  get  through 
and  go  home  if  you  would  only 
try  to  help  us.  Will  you  please 
try  to  feel  the  scene?" 

When  this  mild  request  met 
with  no  response  the  director 
said  : 

"Very  well,  if  you  won't  you 
won't,  but  you  might  as  well  un- 
derstand that  you're  going  to  stay 
here  till  you  play  it." 

It  must  have  been  the  iron  in  his 
voice  that  did  the  trick,  for  the 
temperamental  Miss  Marsh  stopped 
her  nonsense  and  got  to  work. 

I  had  gone  there  to  interview  her, 
but  when  I  saw  that  scene  I  inter- 
viewed somebody  else.  Even  in- 
terviewers are  human  and  when 
they  can  they  are  as  likely  as  any- 
body else  would  be  to  give  the  shade, 
as  the  saying  is,  to  those  who  are 
not  quite  so  self-sufficient. 

I  THINK  I  may  say  without  un- 
due self -appreciation  that  I  wrote 
the  best  interview  with  Miss  Du- 
pont  that  ever  was  written,  and  do 
you  know  why  I  wrote  it? 

Because  Miss  Dupont,  a  most 
likable  girl,  even  though  she  knows 
little  and  cares  less  about  many 
things  that  I  look  upon  as  of  some 
importance,  was  frank  enough  to 
say  to  me: 

"You  don't  expect  me  to  say  bril- 
liant things  do  you,  because  if  you 
do  you're  going  to  be  terribly  dis- 
appointed. I  couldn't  say  anything 
brilliant  to  save  my  life." 

Well,  neither  can  I,  but  I  fixed 
up  an  interview  that  reflected  great 
credit  upon  both  of  us. 

Marguerite  DeLa  Motte  was  not 
much  help. 

"I  realized  the  greatest  ambition 
in  my  life  when  I  became  Douglas 


Fairbanks'  leading  woman,"  she 
said,  and  that's  about  all  that  she 
would  say. 

I  thought  that  she  was  paying 
Doug  a  pretty  little  compliment, 
but  it  was  small  material  out  of 
which  to  build  an  interview.  She 
seemed  to  have  forgotten  almost 
everything  else  that  she  knew. 

Old  Bill  Hart  seemed  to  have 
forgotten  nothing. 

He  was  frankness  itself,  told  me 
he  wasn't  half,  as  crazy  about 
horses  in  general  as  people  thought 
he  was,  admitted  that  the  sight  of 
even  the  slightest  amount  of  blood- 
shed made  him  nervous,  confessed 
that  he  would  not  enter  a  cave  or 
stay  in  a  dark  room  unless  he  really 
had  to,  and  still  managed  to  make 
me  feel  that  he  was  almost  as 
heroic  as  the  characters  that  he 
plays  so  well.  Explain  it  if  you 
can.    I  can't. 


there  is  one  thing  for  which 
I  find  it  difficult  to  forgive  him 
He  asked  me  if  I  ever  had  heard  "I 
am  the  master  of  my  fate,  I  am  the 
captain  of  my  soul,"  and  when, 
weakly,  I  said  that  I  never  had 
heard  him  recite  it,  he  then  and 
there  made  it  impossible  for  me  to 
say  that  again.  William  Shake- 
speare Hart,  you're  a  fine  western 
star,  but  if  ever  again  you  should 
ask  me  whether  I  have  heard  any- 
thing I  am  going  to  say  yes. 

There  is  no  exaggerated  ego 
about  Bill  Hart,  and,  although  he 
is  no  spendthrift,  I  happen  to  know 
that  neither  has  he  ever  turned  his 
back  upon  a  friend.  He's  the  kind 
of  a  man  who,  when  anybody  he 
knows  is  sick,  goes  and  sits  by  the 
bedside.  If  I'm  ever  sick  he  can 
come  and  sit  by  mine  and,  if  he  in- 
sists, I'll  even  let  him  recite  "I  am 
the  master,"  etc. 

I  know  I'd  rather  have  him  in  a 
sick  room  than  a  certain  young 
woman  star  of  surpassing  physical 
beauty,  but  whose  mentality  is  such 
that  I  have  heard  her  referred  to 
as  "the  idiot  child"  and  who,  in  the 
hearing  of  those  very  ears  of  mine, 
told  me  that  her  brother  had  just 
been  operated  upon  and  had  "had 
his  appendicitis  taken  out." 


wjr—i  SCREENLAKD  Ciifirfh. 


63 


MY  TRIP  ABROAD 


w 


(Continued  from  Page  59) 


E  are  received  politely  and 


smiles   from   the  crippled 
who  are  crippled  in  flesh 
Their    spirit    is  boister- 
I  feel  a  puny  atom  as  they 


with 
lads 
only, 
ous. 
shout . 

"Good  luck  to  you,  Charlie." 
I  can't  talk.  There  is  nothing 
for  me  to  say.  I  merely  smile  and 
nod  and  shake  hands  whenever 
this  is  possible.  I  sign  auto- 
graphs for  as  many  as  ask  and  I 
ask  them  to  give  me  their  auto- 
graphs.   I  honestly  want  them. 

One  jovially  says,  "Sure,  and 
Bill  will  give  you  one,  too." 
There  is  an  uproar  of  laughter  and 
Bill  laughs  just  as  loud  as  the 
rest.   Bill  has  no  arms. 

But  he  bests  them.  He  will 
sign  at  that.  And  he  does.  With 
his  teeth.  Such  is  their  spirit. 
What  is  to  become  of  them  ?  That 
is  up  to  you  and  me. 

Back  to  Sir  Philip's,  very  tired 
and  depressed.  We  dine  late  and 
I  go  to  my  room  and  read  Walda 
Frank's  "Dark  Mothers."  The 
next  day  there  is  tennis  and  music 
and  in  the  evening  I  leave  for 
London,  where  I  am  to  meet  H. 

G.  Wells  and  go  with  him  to  his 
country  home. 

I  am  looking  forward  to  this 
Saturday,  Sunday  and  Monday  as 
an  intellectual  holiday.     I  meet 

H.  G.  at  Whitehall  and  he  is  driv- 
ing his  own  car.  He  is  a  very  good 
chauffeur,  too. 

We  talk  politics  and  discuss  the 
Irish  settlement  and  I  tell  him  of 
my  trip  to  Germany.  That  leads  to 
a  discussion  of  the  depreciation  in 
the  value  of  the  mark.  What  will 
be  the  outcome?  Wells  thinks 
financial  collapse.  He  thinks  that 
marks  issued  as  they  are  in  Ger- 
many will  be  worthless. 

I  am  feeling  more  intimate  and 
closer  to  him.  There  is  no  strain 
in  talking,  though  I  am  still  a  bit 
self-conscious  and  find  myself 
watching  myself  closely. 

We  are  out  in  the  country,  near 
Lady  Warwick's  estate,  and  H.  G. 
tells  me  how  the  beautiful  place  is 
going  to  seed;  that  parts  of  it  are 
being  divided  into  lots  and  sold. 

The  estate,  with  its  livestock,  is 
a  show  place.  It  is  breeding  time 
for  the  deer  and  from  the  road  we 
can  hear  the  stags  bellowing.  H.  G 
tells  me  they  are  dangerous  at  this 
time  of  the  year. 

©McClure  Newspaper  Syndicate 
(To  be  concluded  next  month.) 


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Secrets  of  the  Stars 

{Continued  from  page  29.) 


fourteen  when  she  went  into  pic- 
tures. Constance  and  Natalie  went 
to  Erasmus  Hall. 

Alice  Terry,  who  was  born  in 
Nashville,  Tenn.,  and  educated  at 
Washington,  D.  C,  entered  the  pic- 
tures as  an  extra.  She  is  now  the 
wife  of  Rex  Ingram,  the  director. 
Neither  she  nor  any  other  young 
woman  who  has  begun  as  an  extra 
needs  to  be  told  that  it  is  the  best 
way.  It  may  not  be  the  easiest,  but 
it  is  the  best.  Those  who  come  up 
from  the  bottom  seem  to  last  longer 
than  those  who  begin  at  the  top. 
There  is  very  little  snobbishness  in 
pictures.  The  extra  of  today  may 
be  the  star  of  tomorrow  —  Gloria 
Swanson,  for  instance,  and  many 
others ;  but  it  is  a  little  strange  that 
almost  all  of  the  snobbishness  that 
does  exist  shows  itself  among  those 
stars  who  have  been  extras  and 
among  only  a  few  of  them. 


Nc 


iOBODY  can  call  Bessie  Bar- 
riscale  snobbish  and  she  was  a 
star  on  the  stage  before  she  went 
into  pictures,  nor  Dorothy  Phillips, 
who  learned  acting  from  George 
Fawcett  in  one  of  the  best  stock 
companies  this  country  has  ever 
seen,  nor  Leah  Baird,  who  went 
from  a  convent  in  Chicago  to  the 
speaking  stage,  where  she  became  a 
successful  leading  woman  before 
she  and  Lois  Weber  went  to  Uni- 
versal, where  they  both  learned  to 
direct.    Now  Miss  Baird  is  a  star 


and  hires  directors,  and  Miss 
Weber  is  a  director  and  hires  actors. 

Edith  Roberts  went  on  the  stage 
when  she  was  six,  while  Bessie 
Love  waited  until  she  was  sixteen 
to  leave  high  school  for  pictures. 
When  Nell  Shipman  was  sixteen 
she  was  playing  the  piano  in  Jesse 
Laskey's  vaudeville  act,  The  Piano 
Fiends,  while  at  sixteen  Petrova, 
who  once  starred  in  Laskey  pic- 
tures, was  in  the  middle  of  an  edu- 
cational career  which  was  carried 
on  in  Brussels,  Paris  and  London. 
Dorothy  Gish  was  two  years 
younger  when  she  went  on  the 
stage,  and  Corinne  Griffith  was  a 
professional  dancer  at  sixteen.  That 
was  the  age  at  which  Bessie  Love 
left  high  school  for  pictures,  and 
Phillis  Haver  waited  no  longer  to 
begin  a  screen  career  via  the  bath- 
ing girl  route. 

Mrs.  Sydney  Drew  was  a  lyceum 
entertainer,  while  Marie  Doro  came 
to  pictures  from  the  stage,  to  which 
she  had  come  from  Miss  Bronson's 
School  in  New  York.  If  she  ever 
did  any  telephoning  from  that  aus- 
tere establishment,  it  is  possible 
that  Alice  Joyce  got  her  number 
for  her,  for  Alice,  before  going  into 
pictures,  was  a  telephone  operator 
in  New  York. 

One  might  think  that  a  telephone 
operator  would  prefer  the  spoken 
to  the  silent  drama,  but  one  can 
never  tell.  For  instance,  there's 
Sylvia  Ashton.  She  was  born  in 
mid-ocean,  yet  never  yet  has  she 
appeared  in  a  bathing  picture. 


Little  Hints  for  Booklovers 


(Continued  from  page  52.) 


of  wealth  with  at  least  a  minimum 
of  companionableness.  Then  she 
met  Nick  Lansing,  whose  case  was 
exactly  the  opposite;  he  was  as 
poor  as  could  be  and  as  companion- 
able as  possible  to  imagine.  That 
was  how  it  began — 

Why  shouldn't  they  marry — be- 
long to  each  other  openly  and  hon- 


orably, if  for  ever  so  short  a  time, 
and  with  the  definite  understanding 
that  whenever  either  of  them  got 
the  chance  to  do  better,  he  or  she 
would  be  immediately  released? 

Glimpses  of  the  Moon  is  one  of 
those  novels  that  has  to  be  care- 
fully read  to  be  correctly  under- 
stood. (Appleton.) 


aajywo-A  SCREENLAND  C»iifi«>i» 


63 


Until 
All 
Are 
Dead! 


Should  a  feud  continue 
until  both  families 
are  exterminated? 

A  certain  Southern  beauty  came  north 
and  married  into  a  family  whose 
ancestors  fought  her  ancestors  in 
days  gone  by.  After  the  wedding 
the  truth  was  revealed  to  her.  The 
honeymoon  was  immediately  turned 
into  a  feud.  A  kinsman  of  the 
beauty  was  sent  for  and  came 
north  with  a  squirrel  gun  to  slay 
the  hereditary  enemy.  What  oc- 
curred in  this  terribly  tragic  hour, 
how  the  drama  was  worked  out,  is 
told  in  the  new  serial  entitled. 

BORROWING  FIRE 

By  Charles  Neville  Bock 


CONCERNING  A 
SERPENT'S  TOOTH 

When  a  jealous  woman  wants  to  spill 
the  beans  and  render  another 
woman  unhappy,  and  wreck  human 
hearts,  she  tells  a  lie  about  some- 
body; and  if  that  won't  do  she  lies 
about  herself.  That  being  the  case, 
you  will  find  something  rather  ex- 
citing in  the  novelette  entitled 

MALAY  MADNESS 

By  Eleanor  Gates  and  Frederick  F.  Moore 


If  you  are  interested  in  further  par- 
ticulars concerning  these  two  stories 
and  if  you  want  also  to  read  nine 
short  stories  covering  a  wide  range 
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dealers and  order  the 

M  U  N  S  E  Y 
For  September 

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Eastern  Studio 
Directory 

(s — is  the  studio ;  all  others  are  the 
business  addresses.) 

United  Artists,  729  7th  Ave.,  N. 
Y.  C:  (s)  D.  W.  Griffith,  Orienta 
Point,  Mamaroneck,  N.  Y. ;  (s) 
Rex  Beach,  Whitman  Bennett  Stu- 
dio, 537  Riverdale  Ave.,  Yonkers, 
N.  Y. ;  Geo.  Arliss,  Distinctive 
Prod.,  366  Madison  Ave. 

First  National  Exhibitors,  6  W. 
48th  St.,  N.  Y.  C. :  (s)  Norma  Tal- 
madge,  318  E.  48th  St.,  N.  Y.  G; 
Hope  Hampton,  1540  Broadway, 
N.  Y.  C. ;  Richard  Barthelmess,  In- 
spiration Corp.,  565  5th  Ave. 

Metro,  1476  Broadway,  N.  Y.  C. : 
Mae  Murray,  Tiffany  Prod.,  1540 
Broadway,  N.  Y.  C. 

Famous  Players  -  Lasky  Corp. : 
Paramount,  485  5th  Ave.,  N.  Y.  C. ; 
Realart,  469  5th  Ave. 

Goldwyn  Pictures,  469  5th  Ave. 

Selznick,  729  7th  Ave. :  Pyramid 
Pictures,  Smallwood  Prod.,  Amer- 
ican Releasing  Corp.,  150  W.  34th 
St.;  (s)  Astoria,  Long  Island. 

R-C  Pictures  Prod.,  723  7th  Ave. 

Educational  Films  Corp.,  370  7th 
Ave. 

Fox  Film  Corp.,  10th  Ave.  and 
55th  St.,  N.  Y.  C. 

Universal,  1600  Broadway. 

Eddie  Polo,  1600  Broadway. 

Vitagraph,  469  5th  Ave.:  (s)  E. 
15th  St.  and  Locust  Ave.,  Brook- 
lyn, N.  Y. 

International,  127th  St.  and  Sec- 
ond Ave. 

Pathe,  35  West  45th  St.:  (s) 
Geo.  B.  Seitz,  134th  St.  and  Park 
Ave. 

(The  above  information  for 
movie  fans  and  scenario  writers.) 


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66 


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(THIS  WAS  WRITTEN  BY  A  WOMAN) 

IT'S  GOOD 


I  was  using  a  well-known  household 
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i  "  'Darling,'  he  said,  and  his  fine  resolu- 
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night — We  must  part  afterwards,  I  know, 
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.  there  can  be  no  sin  and  no  harm  in  being  a 
little  happy — when  we  are  going  to  pay  for 
i  t  with  al  1 1  he  rest  of  our  1  ives.  Let  u  s  ha  ve 
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The  perfect  lover,  a  splendid  romantic  actor  with  every 
characteristic  indicating  the  polish  of  nobility — such 
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4  nd  so  they  chose  Rodolph  Valentino  for  the  role.  And 
jlV  opposite  him  they  cast  Gloria  Swanson,  for  her  beauty, 
her  excellence  in  scenes  of  emotion  and  her  ability  to  wear 
gorgeous  gowns. 


I 


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"How  Do  They  Do  It?" 

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Tomorrow 

 WITH  APOLOGIES  TO  NO  ONE  

(Copyright,  1922) 

SCENIC  investiture,  historical  ac- 
curacy and  fidelity  to  detail  are  scales 
in  which  critics  weigh  photoplay 
values  far  more  exactingly  than  with 
the  spoken  stage.  In  so-called  legiti- 
mate drama,  scenery  is  no  more  than 
illusory  atmosphere.  Also,  detail  is 
subordinated  so  story  interest  will  be 
focused.  While  on  the  screen,  .the 
demand  is  for  life  itself. 


LlFE,  mirrored,  is  not  Art.  Direc- 
tors who  know  this  and  who  stray 
from  the  narrow  path  of  verisimili- 
tude frequently  are  condemned  for 
stupidity.  But  directors  believe  that 
the  average  playgoer  of  Today  pre- 
fers artificial  drama  to  commonplace 
realism. 


TV 


HE  screen  is  criticized  more  for 
an  idealized  depiction  of  life  than  it 
is  for  weak  drama.  There  is  an 
old-time  Californian  who  sat  one 
night  in  a  theatre  and  hoarsely  de- 
nounced a  western  scene  in  which 
the  hero  advanced,  four-square  to- 
ward the  villain,  his  pistol  outthrust. 

"Gunfighters  never  made  targets  of 
themselves  like  that,"  the  old-time 
Californian  exclaimed.  "They  stood 
sidewise  so  their  bodies  would  make 
a  smaller  mark  for  a  bullet.  And  the 
gun  wasn't  pointed  at  right  angles 
to  the  body.  It  was  flipped  from  its 
holster  and  fired  from  the  waist,  all 
in  one  motion.  The  movies  have  it 
all  wrong.  The  actor  would  get 
drilled  in  the  draw. 


In  another  scene,  a  gambler  was 
shown,  seated  nonchalantly  cross-leg- 
ged at  a  poker  table  where  a  fight 
was  imminent. 

"Card  sharps  always  sat  facing  the 
table,"  spoke  up  the  old-timer.  "They 
kept  both  feet  on  the  floor  alongside 
a  chair  so  they  could  kick  it  over 
backward  and  stand  up,  all  in  one 
move." 


1  HE   old-time   Californian  was  a 

critic  of  realism,  not  Art.  The  direc- 
tor preferred  to  emphasize  the  trucu- 
lent advance  of  the  hero  rather  than 
typify  the  accurate  fighting  attitude 
of  a  past  day.  And  the  nonchalance 
of  the  gambler  was  no  doubt  intend- 
ed as  a  touch  of  characterization  to 
indicate  cool  wickedness.  Perhaps  the 
director  knew  these  scenes  were,  ex- 
aggerations. He  moulded  the  life 
of  Yesterday  into  drama  of  Today. 

Entered  as  second-class  matter  at  the  post- 
office  at  San  Francisco,  California. 


J.M.LYQN  &  CO. 

2-4  MAIDEN  LANE- NEW  YORK 
In  Business  Nearly  100 years 


4 


"©  CI  B  5  5  0  0  S  1 


S 


NOVEMBER,  1922 


VOL.  VI      NO.  2 


CREENLAND 


oc 


c 


Coming  NEXT  Mo»/A: 


CHARACTERISTIC  photo  of  L.  G.  Blochman,  Screen- 
land's  traveling  correspondent  in  the  Orient,  depicting  vividly  the 
hardships  of  life  in  the  East  Indies.    He  writes : 

"In  case  anyone  is  coming  to  Batavia  soon,  the  address  of  this 
particular  beer  garden  is  as  follows:  Walk  North  along  Tanah 
Abang  until  you  come  to  the  office  of  the  Nederlandsch  Indische 
Handelmaatschappij ;  then  turn  down  Noordwijk  walking  until 
you  see  the  Hoofdbureau  van  Staatsspoorvvegen.  The  place  is 
right  next  door.  P.  S. — The  other  glass  belongs  to  the  man  who 
is  taking  the  picture." 

Don't  miss  Blochman' s  "Movies  in  Malaya"  in  Screenland 
for  December — The  best  movie-travelogue  we  have  ever  read. 


The  Good  Things  In  This  Number: 


*f  Nine  Famous  Faces 


Claire  Windsor 
Lila  Lee 
Alice  Terry 
Ruth  Roland 


Helene  Chadwick 
Marie  Prevost 
Eva  Novak 
Mary  on  Aye 


Lucille  Carlisle 

5  Critical  Comment  of  the  Screen 

The  Picture  of  the  Month  35 

Little  Hints  for  Playgoers  36-39 
A  score  of  plays  you  should  and  shouldn't  see 

5  Things  About  the  Movies  You  Never 
Read  Before 

Science  hi  the  Movies  47 
Inventions  that  Improve  Entertainment 

Marriage  in  the  Movies  41 
Has  the  marriage  license  become  a  ninety-day 
guarantee  of  affection? 
By  Alma  Whitaker 

The  Star  in  Society  46 

Piquant  paragraphs  about  polite  parties 
By  Isabel  Percival 

Cartoons  of  the  Month  40 
What  the  daily  press  thinks  of  the  movies 

Letters  Fans  Write  the  Stars  30 

Out  of  the  Studio  mail-bag 

Gossip  Street  19 

Amusing  Hollywood  happenings 
Told  by  people  who  know 


5  Try  These  Under  the  Library  Lamp 

"Location  Stuff"  22 
Another  Mr.  Bloom  short  story 
By  Louts  Weadock 

Confessions  of  a  Star  Interviewer  25 

By  One  Who  Was  Too  Honest 

So  This  is  Hollywood  48 

An  aerial  visit  on  Mack  Sennett 

My  Trip  Abroad  31 

Chaplin's  great  diary 

Secrets  of  the  Stars  28 

Where  the  directors  get  their  starts 
By  Patrick  Tarsney 

The  Five-Foot  Kiss  44 

By  Harry  Carr 

*$Every  Issue  Contains  These  Regular 
Departments 

Little  Hints  for  Booklovers  52 

Fiction  discussed  from  the  playgoers'  viewpoint 

The  Editors'  Page  7 

Timely  observations 

Tomorrow  4 
The  future  of  the  screen 

What's  the  Matter  With  My  Story?  56 
Criticisms  of  Scenarios 

Your  Own  Page  58 
Just  Among  Ourselves 


DO 


Published  Monthly  by  Screenland  Publishing  Company 
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6 


Myron  Zobel,  Editor 


Editors'  PAGE 

Syl.  MacDowell,  Managing  Editor 


The  Perils 
of  Politeness 


THE  most  important  part  of  a 
star's  education  is  to  recog- 
nize the  perils  of  being  polite 
to  insignificant  people. 
In  an  industry  where  a  producer  ranks  a  director 
and  a  director  ranks  a  leading  man  and  a  leading  man 
ranks  an  assistant  director  and  the  assistant  ranks  a 
cameraman,  professional  ethics  demand  that  human 
kindness  must  be  carefully  measured. 

A  star  with  the  poise  that  her  success  demands 
recognizes  the  limits  of  geniality  she  can  exert  upon  the 
assistant  director  in  order  that  he  will  let  her  sleep  an 
extra  half  hour  on  location  days.  But  if  she  is  extrava- 
gant with  her  charms,  she  loses  caste. 

When  impressing  producers,  the  one  with  the  most 
solid  financial  backing  is  obviously  the  one  for  the  star 
to  sit  closest  to  at  table.  A  feminine  touch  on  a 
masculine  coat  sleeve  has  put  many  a  name  on  bill 
posters.  Politeness  is  of  two  sorts— warmth  and  frigid- 
ity. Frigid  politeness  is  reserved  for  insulting  purposes 
and  is  sometimes  known  as  "up-stage  work"  or  "ntz- 
ing."  When  a  producer  has  hard  luck  and  goes  broke 
he  gets  the  ice-box  from  the  star. 

A  star  must  never  be  seen  in  public  with  poor  pills 
whose  social  alliance  offers  nothing.  Friends  cannot 
be  chosen  in  the  movies  for  their  likeability.  A  catholic 
selection  of  congenial  and  wholesome  friends  has  ruined 
more  girls'  careers  than  late  and  unusual  hours  and 
habits. 

A  star  must  guard  her  air  of  good  breeding  with  ex- 
treme care  when  it  has  taken  her  almost  two  years  to 
acquire  it. 


Nature 


A 


PUFF  of  smoke  from  an  indus- 
trious steam  shovel  in  a  glen  not 
far  from  our  window  informs  us 
that  another  prosperous  director  is  building  himself  a 
cozy  $10,000  nook  in  the  comforting  quiet  of  the 
hills. 

The  billowy  verdure  that  once  clad  the  shady  slope 
has  been  uprooted  and  buried  under  tons  of  earth. 
The  scent  of  the  sumac  and  the  tonic  of  the  sweet- 
laden  breezes  that  sift  over  Nature's  wild  garden  is 
mixed  with  dust  and  the  noise  of  a  concrete  mixer. 
The  bees  and  mocking  birds  and  the  myriad  of  liv- 
ing things  that  have  made  their  homes  there  have 
been  frightened  farther  up  into  the  canyon. 

When  the  landscape  gardener  gets  his  imported 
shrubs  set  out,  and  the  wild  growth  has  been  up- 
rooted and  heaped  and  burned,  the  director  will  take 
his  big  car  out  of  the  new  garage  some  morning  and 
coast  down  to  a  boulevard  cafe  and  breakfast.  He 
will  tell  his  friends  that  there  is  nothing  like  a  quiet 
night's  rest  in  the  primitive  wildwood  to  fit  a  man 
for  a  good  day's  work. 


A  Lesson 

in  Diplomacy 


A 


LL  Mexicans  are  bandits. 
To    realize    this,   all  you 
•have  to  do  is  to  visit  the 
movies. 

The  only  people  who  disagree  with  the  movies  in 
this  respect  are  the  Mexicans,  themselves.  Thy  resent 
the  racial  libel  to  such  an  extent  that  an  embargo  has 
been  exerted  on  certain  brands  of  American  films  - 
especial  culprits — whether  those  particular  films  con- 
tained Mexican  villains  or  none  at  all. 

But  the  screen  has  finally  shown  some  favorable 
characteristics  of  our  warm-blooded  brethren,  in  Blood 
and  Sand.  Mexico  has  been  quick  to  reciprocate  by 
lifting  the  ban  on  films  and  decorating  box-offices  with 
their  pesos. 

It  is  plain  to  see  that  modern  diplomacy  is  being 
wound  on  reels  as  well  as  invested  in  the  will  and  good- 
will of  our  plenipotentiaries. 


The 

Obscurant 


A' 


N  iconoclastic  magazine  names 
a  list  of  twenty-six  studio 
'scenario  editors  and  derides 
them  under  this  blistering  exordium : 
"Who  has  ever  heard  of  them?  What  have  they 
ever  done?  Wrhat  have  they  written?  What  is  tiki- 
qualification  for  the  positions  they  occupy?  Where  did 
they  come  from?  What  has  been  the  nature  of  their 
former  experience?  What  do  they  know  of  literature 
and  drama?   Who  found  them — and  where?" 

We  note  with  admiration  the  cuttlefish  skill  editorially 
plied  to  evade  names  of  scenario  ivriters  who  are  known 
in  special  fields  of  literature  and  drama  as  well  as  the 
embracing  motion  picture  art. 

An  editor  is  a  pilot.  It  would  be  as  just  to  condemn 
a  pilot  because  he  could  not  sing  a  sailor's  chanty  as 
to  hold  scenario  editors  as  nit-wits  because  they  are 
neither  novelists  nor  playwrights. 


A  Stop 
Signal 


w 


rHEN  public  appetite  makes  glut- 
tony of  risque  sex  novels,  vulgar 
popular  songs,  nasty  plays  and  in- 
flammatory films,  it  is  time  to  censor  the 
public  and  learn  the  cause  of  its  perverted  taste. 

Bad  entertainment  is  a  stop  signal  lighted  by  the 
current  of  popular  demand.  Most  movies  are  poor  but 
fewr  are  vicious.  But  the  same  assertion  does  not  apply 
to  the  vogue  in  fiction,  popular  music  and  the  spoken 
stage.  High  school  girls  sing  Not  Lately  and  read  free- 
love  verse.  When  their  wholesome  girlhood  is  swallowed 
up  in  the  shadows  of  life,  some  shad-eyed,  clapper- 
tongued  reformer  bellows  about  the  movies. 


'  HOU.VWOOD  CAUrOKHIA. 


WHAT  IS  THE  TITLE  OF  THIS  PICTURE? 


Paramount  Photo  by  Keycs 


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SCREENLAND  TITLE  CONTEST  EDITOR: 
Hollywood,  California. 

This  subscription,  for  the  next  six  issues  of  SCREENLAND, 
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Name  _  _  Address  

City  -   State..—  


————————       |           '   -       ^-i :  :.^^MH||HfiS25SVSi 

£^  NOVAK 

<I  //<u  compared  to  the  stately  blonde  whose  profile  adonis 

many  of  our  coins.  Photograph  by  Melbourne  Spurr. 


Grist  from  the  Movie  Mill 


WALTER  WOODS,  scenario  editor,  was  speaking  to 
a  class  of  amateur  writers :  "Condense  the  ending  of  your 
scenario,"  he  instructed  them.  Next  day  he  received  a 
script  in  which  the  author  finished  off  his  story  as  fol- 
lows:  "The  villain  took  Scotch  whisky,  his  hat,  his 
departure,  no  notice  of  his  pursuers,  a  revolver  out  of 
his  hip  pocket,  and  lastly  his  life  S" 

NORMA  TALMADGE  was  making  a  street  scene  and 
a  crowd  had  collected.  "Who's  that  girl  ?"  someone  asked. 
"Her?  Why,  Buster  Keaton's  sister-in-law,  that's  all." 
The  crowd  dispersed. 


receiver  at  his  car  when  a  fragment  of  conversation  from 
the  Catalina  Island  radiophone  interrupted  his  concert. 
It  was  the  voice  of  the  daredevil.  "I'm  in  soft,  Dolly," 
he  chortled.  "Im  getting  twenty-five  berries  per  to  wear 
Wallie's  shirt." 


WlLL  ROGERS,  now  with  Ziegfeld,  plans  to  return 
to  Hollywood  and  picture-making.  His  friends  are  won- 
dering what  he  will  do  with  the  drop  curtains  in  the 
miniature  theatre  at  his  Beverly  Hills  mansion.  The  most 
conspicuous  parf  of  the  decorations  on  the  curtains  is  a 
Goldwyn  lion,  lying  on  its  back,  feet  in  the  air.  Under- 
neath is  the  usual  caption :   "It's  a  Goldwyn  year." 

SAMUEL  GOLDWYN,  himself,  tells  one  on  a  fellow- 
producer.  A  director  employed  by  this  producer  had 
achieved  a  pretty  honeymoon  ending  in  a  picture  by  show- 
ing, in  the  final  fadeout,  two  dogs  on  a  station  platform, 
each  tied  to  the  trunk  of  his  owner— the  bride  and  groom. 
The  dogs  approached  each  other  to  the  ends  of  their 
leashes  and  kissed.  "That's  out!"  declared  the  producer 
when  he  saw  the  film.  "What  for  did  you  get  a  couple 
of  dogs  to  play  the  love  scene  when  I  am  paying  my 
actors  $500  a  week  to  do  the  job!" 

DOUBLES  for  stars  who  play  "thrill  stuff"  are  always 
in  demand.  Fred  Kley,  Lasky  studio  manager,  congratu- 
lated himself  on  a  good  stroke  of  business  when  he  hired 
a  daredevil  for  what  he  believed  was  a  dangerous  stunt 
for  $25  a  day.    At  home  that  night  Kley  had  a  radio 


THERE  is  the  pathetic  side  to  hair-raising  picture  stunts. 
A  motorcycle  rider  agreed  to  do  the  collision  scene  in 
William  de  Mille's  Manslaughter  for  $1,000.  The  com- 
pany offered  to  furnish  him  with  the  latest  surgical  marvel, 
a  plastic  face,  if  his  injuries  required  it.  They  did. 

IaCK  AND  SAM  WARNER  emerged  from  the  Ambas- 
sador Hotel  to  find  that  thieves  had  stripped  the  spare 
tire  from  the  studio  flivver  that  they  were  using.  "Let's 
call  the  police,"  proposed  Jack,  excitedly.  "Never  mind," 
consoled  Sam,  "that  was  the  papier  mache  trick  tire  that 
we  used  in  Rags  to  Riches." 

P  ICTURE  fans  hear  much  of  poverty-ridden  extras,  but 
Horace  Williams,  casting  director  at  the  Ince  Studio, 
knows  four  "extra"  men  whose  combined  capital  exceeds 
$200,000.  But  they  didn't  make  it  acting.  Retired  Iowans 
who  hate  idleness.  

L.OIS  WEBER  is  reported  to  be  separated  from  her 
husband,  Phillip  Smalley.  These  matrimonial  problem 
pictures,  like  What  Women  Want,  released  recently  by 
Miss  Weber,  are  not  bought  from  scenario  writers. 

DOUG  has  inspired  Charlie  Chaplin  with  appreciation  of 
the  classics.  For  Charlie  is  planning  to  film  Don  Quixote. 
With  an  electric  fan  instead  of  a  windmill,  perhaps. 


CHAPLIN'S  greatest  admirer,  Jackie  Coogan,  wept  one 
day  because  he  had  made  a  mistake  in  a  scene  that  de- 
manded a  retake.  "Never  mind,  Jackie,"  consoled  Coogan, 

19 


senior.  "Everyone  has  made  mistakes— everyone  but  a 
certain  omnipotent  being—"  "I  know,  I  know  who  he 
is,"  interrupted  Jackie,  with  a  sob,  "Charlie  Chaplin." 


THE  scenario  departments  enjoy  the  artless  epistles  of 
some  aspiring  writers  more  than  their  stories.  Mrs.  Lotta 
Woods,  scenario  editor  for  Fairbanks,  tells  about  a  lady 
who  gave  as  one  reason  for  believing  that  her  work  was 
worth  while  the  fact  that  she  lives  in  the  same  block  as 
Harold  Bell  Wright. 


MISTER  KEATON  got  a  comedy  from  a  free-lance 
author.  "You  will  notice  that  the  plot  is  missing,"  the 
writer  said  in  his  letter.  "I  left  it  out  on  purpose.  I  was 
afraid  somebody  would  steal  it." 


NOT  to  be  outdone  by  William  Fox,  an  enlarged  por- 
trait of  whom  is  the  chief  decoration  in  the  reception  room 
at  the  Fox  Studio,  Thomas  H.  Ince  has  placed  in  the 
reception  room  at  the  Ince  Studio  an  oil  painting  of 
George  Washington. 

It  might  further  be  said  of  Thomas  H.  Ince  that  he  has 
installed  the  largest  private  bathing  pool  in  Southern  Cali- 
fornia in  his  new  home,  one  of  the  show  places  of  Bev- 
erly Hills.  Here  he  and  his  friend,  William  Hart,  his 
neighbor  who  won  a  few  thousand  from  him  a  year'  ago 
in  a  lawsuit,  might  duck  each  other  on  warm  evenings. 

JOSEPH  SCHENCK,  the  producer,  is  a  kind  and  in- 
dulgent husband.    When  his  wife,  Norma  Talmadge,  put 

in  an  expensive  day  in 
the  studio,  all  of  which 
work  had  to  be  retaken 
next   day   because  she 
forgot  to  wear  a  string 
of  pearls,  he  patted  her 
on  the  back  and  said: 
"Never   mind,  Norma. 
It  was  a  fine  rehearsal !" 
The     only     time  Mr. 
Schenck   ever   got  his 
husbandly    dander  het 
up,   say   their  friends, 
was    when    he  caught 
Norma  with  a  copy  of 
The  Sheik  under  her  pil- 
low. 


Wvvi-  .v<  (ft  i  m 


ALICE  LAKE  al- 
ways weighs  herself 
a;fter  eating  at  Arm- 
strong's Cafe,  in  Holly- 
wood. She  smiled  the 
other  day  after  viewing 
the  indicator.  Every- 
thing must  be  O.  K. 


3  \ 


20 


PAULINE  STARKE 

T HIS  scratchy-looking  garment  she 
holds  in  her  hand  is  a  grass  skirt, 
property  of  the  Goldwyn  wardrobe 
department.  It  was  handed  to  her 
by  Director  Walsh,  just  before  Miss 
Starke  and  a  near-score  of  other 
players  departed  on  the  Walsh  expe- 
dition to  the  South  Seas  to  make 
Passions  of  the  Sea.  Director  Walsh 
was  confidentially  informed  by  James 
Frederick  O'Brien,  author  of  White 
Shadows  in  the  South  Seas,  that  the 
natives  really  wear  denim  overalls, 
so  Miss  Starke  had  to  carry  along  all 
audio-made  wicker  ones.  The  critics 
will  speak  of  the  picture  as  stark 
realism. 


Now  that  Universal 
has  begun  to  run  the  di- 
rector's name  at  the 
end,  instead  of  -at  the 
beginning  of  the*  film, 
nobody'll  ever  know 
who  did  direct  a  lot  of 
those  Universal  master- 
pieces. 


George  Sunday, 

son  of  Billy  Sunday, 
the  evangelist,  is  now 
interested  in  several  real 
estate  operations  with 
Charlie  Christie,  brother 
of  Al  Christie,  the  pro- 


lOUYWOOO  C»W»OdH1A. 


MADGE  BELLAMY 

Hu   ,        t  M  h.^inr-ss  cares  and  her  papa  saves  Madge  the  trouble  of  reading 
ER  mamma  reheves  Madg ,   , /all  bus> n  s ^ ^  °f  /    HP/censors  her  reading  fcv  «KW««r  *  first 
(,fli/  OT,  I  W#  f  ^  f^^  *  „,     car  reading  a  volume  he  was  testing  /or 

t«!f.    ^  the  other  day   he  sat  J0„,^„c  Tfc?  &oo*  tester  would 

Madge.    He.  seemed  to  be  enjoying  fcm*4£  ,  the  book.  6*  Dr.  Van  der  Voort. 

not  tell    Madge,  ask  papa  to  show  you  that  hook.  s  * 


ducer  of  comedies,  a  fact  which  induces  inward  joy  to 
those  who  like  to  see  the  church  and  the  screen  get  along 
in  brotherly  amity.  But  who  would  ever  think  that  a  son 
of  Billy  Sunday  would  have  anything  to  do,  even  re- 
motely, with  the  silent  drama? 


\^ILL  H.  HAYS  has  discovered  that,  much  as  the  pro- 
ducers love  him,  they  will  insist  upon  having  their  pictures 
taken  with  him  in  such  a  way  that  when  these  pictures 
are  printed  the  captions  always  read :  "From  left  to  right, 
Mr/Producer  and  Will  H.  Hays."  Mr.  Producer  getting 
into  the  public  eye  first  and  foremost. 


NOAH  BERRY  has  no  right  to  complain  of  the  wages 
of  sin.  For  playing  a  villain  for  four  days  lately  he  got  a 
check  for  one  thousand  dollars.  No  wonder  that  his  fat 
little  son,  "Pidgie"  says  that -when  he  grows  up  he's  going 
to  be  "a  bad  actor  like  Dad." 


THE  BEARS  is  the  latest  social  organization  to  be 
formed  among  the  moving  picture  folk.  It  is  modeled 
on  the  lines  of  the  Lambs,  and  will  provide  a  meeting  place 


for  those  lonesome  souls  that  have  nowhere  to  go  except 
the  Los  Angeles  Athletic  Club,  the  Directors'  Associa- 
tion, the  Actors'  Association,  the  Equity  and  the  Alex- 
andria lobby.  

WHEN  Mack  Sennett  rents  his  trained  dog  Teddy 
to  other  producers  he  charges  two  hundred  and  fifty 
dollars  a  week  for  the  canine's  services.  Some  other 
actors  might  get  more  salary  if  they  had  more  legs. 

WaLLY  REID,  Harold  Lloyd,  Carter  De  Haven  and 
several  other  stars  have  little  swimming  pools  in  their 
homes,  but  Douglas  Fairbanks,  who  also  has  a  pool, 
has  in  addition  a  regulation  barber's  chair.  Every- 
body knows  that  he  has  a  projection  machine  m  his 
front  room,  but  everybody  does  not  know  that  it  was 
he  who  presented  to  former  President  Wilson  the  pro- 
jection machine  that  was  the  first  to  be  set  up  m  the 
White  House.  ;  "■.  

(Note :  Gossip  Street  will  be  continued  next  month 
and  will  run  hereafter  as  a  regular  feature  in  Screen- 
land.) 

21 


f  The  movies  are  not  the  only 
place  where  you'll  find  upstage 
people.  But  however  you  dis- 
like their  manner,  you  cannot 
help  but  love  them  when  thev 
show  they  are  really  human.  It 
took  Norval  Chillingworth,  the 
new  leading  man,  nearly  a  week 
to  reveal  himself  to  Mr.  Bloom 
as  a  regular  fellow. 


"/  see  you  got  over  your 
cold,"  said  Mr.  Bloom. 
"Why,  I  have  no  cold, 
Julie  objected. 
"/  thought  you  had,"  he 
said,  "I  thought  you  had 
such  a  bad  cold  you 
couldn't  speak  to  any- 
body." 


'Location Stuff 


By  Louis  W  e  a  d  o  c  k 


it 


Illustrated   by   Everett   W  y  n  n 


JL  SHALL  see  you  anon,  gentlemen,"  said  Norval 
Chillingworth,  the  new  leading  man,  and  gracefully  backed 
out  of  the  office  of  the  president  of  the  Planet  Film  Cor- 
poration, Inc. 

"The  same  to  you,"  the  flustered  little  president  called 
after  him,  looking  in  some  chagrin  at  the  hand  which  the 
new  leading  man  had  forgotten  to  shake. 

"Well,  Mr.  Bloom,"  asked  Bruce  Wappinger,  the  di- 
rector, who  was  the  other  gentleman  to  whom  the  leading 
man  had  tossed  his  condescending  valedictory,  "what  do 
you  think  of  him  ?" 

Mr.  Bloom  pursed  doubtful  lips. 

"I  think  yes  and  no,"  he  answered,  and  locked  the  door. 

Then  he  walked  to  a  window  and  stood  there  gazing 
with  evident  dissatisfaction  upon  the  landscape. 

"Hollywood  is  getting  fuller  and  fuller  of  stuckuppish- 
ness,"  he  muttered.  "When  that  fellow  was  in  his  own 
country  what  was  he? — an  assistant  king  or  something 
like  that?" 

"He  tells  me  that  he  was  a  very  good  actor,"  answered 
the  director,  "a  very,  very  good  actor." 

22 


"Now,  don't  you  start  trying  to  talk  like  him,"  exclaimed 
Mr.  Bloom  in  disgust.  "One  'I'll  see  you  anon-er'  in  this 
company  is  enough  and  too  much.  But  if  that  feller  can 
act  on  the  screen  as  good  as  the  papers  say  he  can  act  on 
the  stage  I  can  make  so  much  money  out  of  him  that  I 
can  afford  to  listen  to  his  language." 

There  was  a  knock  at  the  door. 

"He's  probably  come  back  to  tell  you  something  about 
himself  that  he  forgot,"  whispered  Wappinger,  whose 
admiration  for  actors  who  were  not  engaged  upon  his 
recommendation  was  small. 

"Maybe  if  you'll  take  care  of  your  own  knitting  it  will 
be  just  as  good,"  commented  Mr.  Bloom  testily  and  moved 
toward  the  door. 

But  the  testiness  was  all  in  his  voice,  for  as  he  crossed 
the  room  his  chubby  face  wore  again  its  habitual  ex- 
pression of  benignity,  and  as  he  turned  the  key  he  glanced 
over  his  shoulder  and  smiled  at  Wappinger. 

When  he  opened  the  door  the  smile  died. 

"It's  only  Julie,"  he  said  shamefacedly. 


HOLLYWOOO    '_*(_tf  UKUlA 


"Owiy  Julie?"  mocked  a  wide-eyed  vision  of  innocence 
in  the  doorway.  "Say,  who  were  you  guys  expecting?— 
the  Queen  of  Sheba?" 

Mr.  Bloom  spread  deprecatory  hands. 

"Now,  Miss  Douglas,"  he  began  patiently.  "How  many 
times  have  I  told  you,  I  mean  how  many  times  have  I 
asked  you  not  to  call  me  and  Mr.  Wappinger  'guys'?  It 
don't  sound  respectable." 

"Pish  and  tush,"  she  answered  as  she  passed  and  came 
unbidden  into  the  room. 

"That's  worse  talk,"  muttered  her  employer,  following 
her.  "All  I  hear  this  afternoon  is  new  talk.  If  you 
wasn't  such  a  good  ingenue  you'd  make  me  cross.  But  to 
hear  you  speak  nobody  would  think  you  was  an  ingenue. 
They'd  think  you  was  an  adventuress  type." 

"A  lot  I'd  care  what  they  thought"  was  the  vision's 
spirited  rejoinder.  "I  didn't  break  my  way  in  here  to  talk- 
about  grammar.   I  came  in  to  find  out  about  my  grub." 

Mr.  B'.oom  rolled  protesting  eyes  toward  the  ceiling. 

"Listen  to  her,  Wappinger,"  he  exclaimed.  "She  comes 
in  to  talk  about  grub.  That  ain't  a  lady-like  word — 
'grub'." 


Mi 


.IlSS  DOUGLAS,  seating  herself  daintily  in  an  over- 
stuffed chair,  slipped  one  slim  ankle  over  another,  re- 
garded them  approvingly,  and  yawned. 

"It  might  not  be  lady-like  to  ask  anybody  to  buy  grub 
for  me,"  she  explained,  "but  it  certainly  isn't  unladylike 
for  me  to  ask  where  I'm  going  to  buy  it  for  myself. 
Besides,  I  don't  remember  ever  having  claimed  to  be 

lady  like."  „  ,         ,  _., 

"Please,  Julie,  don't  talk  like  that,"  begged  Mr.  Bloom, 
relaxing,  in  his  earnestness,  much  of  the  formality  of  his 
manner.  "Be  more  reserved  like.  You  know  you've 
worked  for  me  a  long  time.  You  know  I  like  you.  You 
know  Wappinger  likes  you--  " 

"I  know  I  like  myself,"  she  affirmed,  languidly,  but 
I'd  like  to  know  what  all  this  is  leading  up  to." 

Mr.  Bloom  and  the  director  looked  at  each  other  and 
then  the  director  looked  out  of  the  window,  thereby  placing 
the  task  of  enlightenment  squarely  upon  Mr.  Bloom.  The 
stubby  producer  cleared  his  throat. 

"I  have  just  hired  the  highest-priced  leading  man  that 
ever  worked  for  me  in  my  life,"  he  announced.  He  is  a 
young  feller  that's  got  a  big  society  following,  a  young 
feller  with  class  sticking  out  all  over  him,  a  young 
feller  ' 

"Say!"  broke  in  the  feminine  half  of  his  audience, 
"what's  the  big  idea  of  the  selling  talk?  Do  you  want 
me  to  marry  him,  or  are  you  afraid  I  won't  know  how 
to  behave?" 

"Who  said  anything  about  marrying?"  demanded  her 
indignant  employer. 

"I  cash  on  my  other  bet,"  she  said  with  chilling  dis- 
favor, and  began  to  powder  her  pretty  little  nose. 


Mi 


,1R.  BLOOM  was  fairly  caught. 

"It  ain't  exactly  that,"  he  hastened  to  explain.  "But 
you  see  this  here  young  feller  ain't  wild  and  western  like 
some  of  the  boys.   He  ain't  never  been  in  a  studio  before. 
He  ain't  never  been  off  Broadway  and  that  street  in  Lon- 
don that  everybody  knows  the  name  of——-" 
"What  street  in  London?"  she  asked  icily. 
"The  main  street  in  London,"  he  said  impatiently. 
"They  have  so  many,"  she  yawned. 

"Julie,"  he  said  desperately,  "I  don't  want  this  young 
feller  to  get  the  idea  that  we  don't  know  manners.  He 
is  so  quietlike  and  refined.    He  talks  always  in  a  kind  of 
a  whisper,  as  if  they  was  somebody  dead.    Like  this." 
Mr.  Bloom's  imitation  was  none  too  successful. 
"The  poor  guy's  probably  got  the  con,"  declared  Miss 
kniglas. 


"No,  he  ain't"  contradicted  her  employer.  "He  has  got 
a  high-toned  way  of  talking." 

"Sounded  like  the  con  to  me,"  she  insisted. 

"Whatever  it  is  he  ain't  used  to  rough  treatment,"  said 
Mr.  Bloom,  "and  now  that  we're  going  on  location  what 
I  would  like  for  you  to  do  is  to  kind  of  see  that  those  cow- 
boys and  fellers  like  that  don't  bother  him." 

He  ended  lamely  enough. 

"I'm  an  actress,  not  a  nurse-girl,"  said  Miss  Douglas 
stiffly,  "and  you  ain't  fooling  mc  one  little  bit.  What 
you're  afraid'of  is  that  I'll  rough  him  up  myself.  Well, 
I  won't.  I  won't  even  speak  to  him.  What  I  want  to  know 
is  where  I'm  going  to  eat  in  this  bum  town  we're  going  to. 
I  went  on  location  once  and  I  didn't  have  anything  to  eat 
for  one  whole  day.    It  was  when  I  was  with  " 

Wrappinger  interrupted  her. 

"Yes,  yes,  we  know,"  he  said.  "It  was  when  you  were 
with  Griffith." 

"That's  just  when  it  was,"  she  corroborated,  unper- 
turbed, "and  I  don't  want  it  to  happen  again." 

"This  town  that  we're  going  to  is  on  the  desert,  but 
it  has  knives  and  forks  in  it,"  said  Mr.  Bloom.  "Do  you 
get  the  little  hint  I  was  trying  to  give  you?" 

"I  get  the  little  hint,"  she  said  dryly,  "but  I  didn't  get 
the  name  of  this  ham  that  you've  engaged." 

"Ham?"  exploded  Mr.  Bloom.    "This  feller  ain't  no 

ham.    He  is  a  Broadway  favorite  speaking  actor.  He 
ft 

is  a  

"I  don't  want  to  buy  him,"  the  girl  protested.  "I  want 
to  know  his  name." 

"Oh,  his  name?"  repeated  her  employer.  "His  name  is 
Norval  Chillingworth." 

She  gasped. 

"Not  the  Norval  Chillingworth?"  she  queried,  visibly 
impressed. 

"See!"  exclaimed  Mr.  Bloom,  exultantly,  "I  told  you 
nobody  would  believe  that  I  hired  the  Norval  Chil- 
lingworth, the  great  English  and  Broadway  speaking 
actor  " 

"And  what  did  he  say  about  playing  opposite  me?" 
asked  the  girl  excitedly. 

Mr.  Bloom,  looking  uncomfortable,  began  to  twiddle 
his  thumbs.    Wappinger  answered  for  him. 

"He  didn't  say  much,"  he  averred.  "You  see,  he'd 
never  even  heard  of  you." 

"Never  heard  of  me?"  she  cried  incredulously.  "Say, 
where  has  this  guy  lived  all  his  life?" 

"Broadway."  answered  Mr.  Bloom  proudly,  "and  that 
street  in  London  that  everybody  knows  the  name  of." 

"He  never  heard  of  me!"  repeated  the  girl  in  amaze- 
ment. 

"Oh,  I  showed  him  your  picture,"  said  Mr.  Bloom 
hurriedly.   "Now  he  knows  who  you  are." 

"And  what  did  he  say  when  you  showed  him  my  pic- 
ture?" she  asked  breathlessly. 

Mr.  Bloom  stared  out  of  the  window,  pretending  that  he 
had  not  heard.    Not  so  Wappinger. 

"He  said,"  spoke  up  that  disagreeable  man,  "he  said  he 
thought  you  were  pretty,  in  a  doll-like  way." 

"I'll  doll  him,"  said  Miss  Douglas  grimly. 


II. 

ThE  next  day  Mr.  Bloom  took  his  flock  to  Grandville, 
a  pin  point  on  the  illimitable  desert  a  couple  of  hundred 
miles  from  Hollywood.  He  and  the  flock  traveled  in  seven- 
passenger  automobiles  for  each  of  which  Mr.  Bloom  was 
to  pay  fifteen  dollars  a  day.  There  were  four  of  these 
automobiles  in  the  cavalcade  that  drew  away  from  the 
Planet  studio  in  the  cool  of  the  morning,  and  they  would 
have  drawn  away  earlier  had  not  the  same  old  controversy 
as  to  the  front  seats  arisen.  As  usual,  everybody  wanted 
to  ride  with  the  driver,  and  as  usual  some  more  or  less 

23 


MOtLVWOOO  CALIFORNIA 


«f  "Bill,  if  you  lay  a  finger  on  my  friend,  Mr.  Bloom,  you'll  have  to  lick  both  of  us." 


valuable  time  was  consumed  in  establishing  this  matter 
of  precedence. 

"I'm  glad  I'm  letting  Mr.  Chillingworth  stay  in  Holly- 
¥/ood  till  we  need  him,  which  will  be  in  three  or  four 
days,"  Mr.  Bloom  said  to  Wappinger  as  the  two  separated, 
each  to  move  by  divine  right  into  a  seat  alongside  a  driver. 
"I'm  glad  he  ain't  here  to  see  what  bum  manners  some  of 
us  has  got,  and  besides  there  ain't  no  reason  I  should  pay 
hotel  bills  for  him  up  there  till  we  need  him." 

Those  were  almost  the  last  words  that  Mr.  Bloom  spoke 


until  his  cramped  legs  deposited  him  upon  the  unpaved 
street  in  front  of  the  Metropolitan  Hotel  in  Grandville 
late  that  day.  But  if  he  had  not  talked,  he  had  thought, 
and  the  more  he  thought  the  more  he  became  convinced 
that  Julie  Douglas  as  well  as  Mr.  Chillingworth  would 
have  to  be  handled  with  gloves. 

She,  who  as  yet  had  not  met  the  new  English  leading 
man,  had  quit  speaking  to  everybody  else. 

"She's  got  one  of  her  mads  on,"  thought  Mr.  Bloom,  as, 

with  her  chin  in  the  air,  she       (Continued  on  page  60) 


24 


MOUVWOOD  c*uron.M*A. 


Confessions  / 

of  a  J  tar  INTERVIEWER 

Bv  One  Who  Was  Too  Honest 


<5  Authors,  as  well  as  stars,  expect  print- 
ers' ink  to  be  mixed  with  saccharine. 
Even  humorists  take  themselves  se- 
riously. This  whimsical  interviewer 
relates  some  delightful  incidents  of 
her  meeting  the  great  writers  and  their 
reactions  to  the  truth  she  told  about 
them.  This  is  the  best  "confession" 
published  in  this  popular  series. 


ev 


U 


NLIKE  most  of  my  predecessors  in  thH 
series,  my  confession  must  be  one  of  too  much 
honesty.  I  am  not  given  to  complimentary  slush, 
especially  if  I  care  a  button  about  the  celebrity 
interviewed.  But  I  am  not  at  all  sure  that  honesty 
is  the  best  policy  in  interviewing.  My  victims 
rarely  appreciate  my  crude  and  faithfully  verbatim 
reports  of  their  more  or  less  profound  remarks,  or 
my  disgustingly  honest  descriptions  of  their  per- 
sons. 

For  this  reason  my  paper  does  not  often  let  me 
loose  upon  the  picture  stars.  Only  now  and  again 
with  grave  misgivings.  For  some  subtle  reason, 
picture  stars  are  understood  to  be  infinitely  more 
hyper-sensitive  and  woundful — why  can  it  be.' 
Mostly,  therefore,  it  is  the  other  kind  of  celebrity 
that  is  delivered  unto  me. 

I  recall,  for  instance,  that  I  did  not  make  any  sort 
of  a  hit  with  Theda  Bara.  She  had  just  taken  the 
Randolph  Huntington  Miner  residence  and  had  an- 
nounced her  intention  of  renouncing  horrid  vamp 
parts  forever,  going  in  strictly  for  the  good,  the  true 
and  the  beautiful  henceforth. 

So  the  stage  was  all  set  for  me  to  discover  Theda  in  a 
Mary  Pickford  gown,  feeding  the  baby  chickens  in  the 
garden.  Very  effective.  Nice  books  were  scattered 
around  the  living  room  as  evidence  of  superior  reading. 
Ingenue  kid  sister  was  around. 

Said  Theda:  "I  love  the  great-out-of-doors,  don't 
you?"  "I  love  flowers,  you  know,  especially  the  sweet 
old-fashioned  ones."  "There  is  nothing  like  the  music 
of  the  birds  in  spring-time,  is  there?"  "The  sunshine, 
oh.  the  beautiful  sunshine,  it  makes  my  heart  sing." 
"You  know,  the  public  doesn't  understand  me.  They 
think  I  am  like  the  horrid  parts  I  play  and  I'm  not  a 
bit.  My  tastes  are  very  simple.  Oh,  yes,  and  I  love 
children.  And — and  housekeeping,  you  know.  I  am 
not  a  bit  of  a  vamp,  really.  So  I  am  going  to  give  up 
that  sort  of  part  and  be  myself.  One  should  be  one's 
self,  don't  you  think?"    And  so  on. 

Well,  I  felt  that  Theda  was  not  talking  recklessly 
and  impulsively;  that  she  had,  in  fact,  weighed  her 
words  with  proper  care.  Who  was  I  to  improve  upon 
such  profound  thoughts?  So  I  quoted  her  verbatim, 
adding  a  few  comparative  remarks  anent  former  and 


q  Elinor  Glyn  said :  "I  am  a  sybarite  and  I  must  have 
exquisite  "things  about  mc.  If  I  were  poor  I  would 
sit  up  all  night  to  launder  my  fine  underwear.  .  .  . 
/  never  allow  a  man  to  kiss  me  after  smoking  until 
he  has  cleaned  his  teeth."  Photo  by  Keyes. 

present  inhabitants  of  the  society  home  (quite  nicely 
in  favor  of  Theda  in  point  of  interest)  and  generally 
basked  in  conscious  reportorial  rectitude.  What  more 
could  I  do?  But  Theda  was  not  satisfied.  Said  I  was 
ridiculing  her,  cruelly  misinterpreted  her. 


T 


HEN  there  was  Mrs.  Gertrude  Atherton,  who  had 
just  arrived  as  one  of  Goldwyn's  hectically  advertised 
"eminent  authors." 

Mrs.  Atherton  began  by  saying  she  hoped  our  rendez- 
vous was  not  a  public  place  "because  I  have  promised 
the  W.  C.  T.  U.  that  I  will  not  smoke  in  public."  Then- 
she  smoked  a  nice,  large,  fat  cigarette  poised  on  the 
point  of  a  hatpin  to  save  her  fingers  getting  nicotiny. 
She  added:  "You  know  Samuel  Goldwyn  plagued  me 
to  come,  kept  right  after  me.  I  didn't  want  to  and  hope 
I  shan't  regret  it.  What  do  you  want  me  to  say  ?  I  am 
sure  I  don't  know  what  to  say.  Clayton,  come  here  and 
tell  me  what  to  talk  about.   Oh,  yes.   Well,  Mr.  Gold- 


vvyn  is  a  remarkable  man.  This  is  a  wonderful  studio. 
The  co-operation  here  is  splendid.  My  story  is  going  to 
be  called  'Noblesse  Oblige.'  It  is  laid  in  San  Francisco 
in  the  period  of  1860.  They  tell  me  costume  plays 
aren't  popular.  This  is  a  costume  play — there,  how  will 
that  do?" 

Well,  I  quoted  her  just  like  that.  Also  told  of  her 
superb  sartorial  indifference,  her  careless  hair-dressing, 
her  unbecoming  hat,  shoved  back  at  a  rakish  angle 
when  it  disturbed  her,  and  of  her  skirt  three  inches 
longer  than  the  style. 

And,  mind  you,  I  really  liked  Gertrude  Atherton,  just 
as  she  was,  just  as  I  wrote  about  her,  with  all  her 
frankness,  her  scorn  of  slush,  her  sartorial  indifference. 
But,  alas!  You  see,  Mrs.  Atherton  did  not  think  she 
was  sartorially  indifferent,  and  she  did  not  like  my 
crude  bare  report  of  her  remarks,  cither — so  there  you 
are. 

Or  take  Clayton  Hamilton — who  feared  no  man  and 
said  exactly  what  he  thought.  He  knew  I  was  there  to 
absorb  him  and  his  ideas  and  he  continued  to  say  just 
what  he  thought.  Amongst  other  things  he  said  no 
eminent  author  was  successful  on  the  screen.  "Rupert 
Hughes  isn't  an  eminent  author,  he  is  a  successful 
author."  He  also  made  a  good  many  quite  caustic 
remarks  about  producers  and  directors,  including  those 


Weeks."  Why,  do  you  know  my  "Three  Weeks"  is 
read  in  every  university  in  the  country  as  the  finest 
example  of  modern  emotional  literature.  I  had  a  de- 
lightful visit  with  their  Majesties  the  King  and  Queen 
of  Spain — delightful  couple.  They  take  a  tremendous 
interest  in  my  work.  I  can't  think  why  the  American 
reporters  insist  upon  thinking  me  a  snob.  Of  course, 
I  am  not.  I  prefer  refined  people  because  they  are  more 
attractive."  And  so  on  for  over  an  hour.  So  I  faith- 
fully recorded  her  words,  added  a  little  psycho-analytic 
character  analysis  of  the  interested  variety  that  we 
accord  our  most  distinguished  jail  queens,  and  really 
spread  myself  rather  well.  But  I  assure  you  Elinor  did 
not  approve  of  it  at  all. 

Charlie  Chaplin  and  Edna  Purviance  were  my  most 
happy  interviewees — although  I  treated  them  with 
scant  consideration,  joshed  them,  told  many  things 
about  Charlie's  early  life  and  Edna's  pending  love 
affairs  and  the  advent  of  Mildred — and"  even  naughtily 
misinterpreted  some  of  their  most  innocent  remarks — 
never,  never  did  I  hear  the  hint  of  a  kick,  it  was  all 
I  could  go  as  far  as  I  liked. 


right  with  them 


ALICE  DUER  MILLER,  another  "eminent  author," 
was  a  victim  of  .mine.    Having  read  all  her  books  with 


I  ask  you,  who  was  I 


he  was  associated  with.  Now, 
that  I  should  insult  so  lofty  a 
high-brow  by  toning  down 
his  best  caustic  bon  mots? 
But  was  he  delighted  with  my 
scrupulous  record  ?  He  was 
not. 

I  HAD  much  better  luck  with 

Bill  Hart.  Bill  knew  exactly 
what  he  meant  to  say,  includ- 
ing the  fact  that  his  boys' 
books  were  amongst  the  best 
of  their  kind,  that  he  hoped 
the  public  didn't  think  he  was 
cruel  to  Pinto,  his  horse,  be- 
cause he  wasn't ;  he  hoped  the 
public  did  not  suspect  him  of 
employing  doubles,  because  he 
wouldn't  for  anything,  and  as 
to  this  censorship  matter 
.  .  .  whereupon  he  pro- 
ceeded to  recite  a  lovely, 
well-constructed,  carefully 
thought-out  argument  against 
censorship — and  he  just  loved 
my  faithful  report.  It  read 
aw7fully  well. 

But  I  can't  claim  the  same 
success  for  Elinor  Glyn.    Yet  I 
so  absorbed  Elinor  that  I  haven't 
been   able   to   associate  happily 
with  plebeians  ever  since. 

Said  Elinor:  "I  am  a  sybarite,  I  must  have  exquisite 
things  about  me.  If  I  were  poor  I  would  sit  up  all 
night  to  launder  my  fine  underwear.  Oh,  yes,  indeed, 
royalty  and  the  aristocracy  are  superior  to  common 
people  I  can't  endure  common  people.  My  heroines, 
even  when  they  come  from  the  lower  ranks,  like  Kath- 
erine  Bush,  are  Nature's  gentlewomen.  Many  of  the 
workmen  in  this  studio  are  Nature's  aristocrats.  I  dis- 
like to  see  women  smoke.  I  never  allow  a  man  to  kiss 
me  after  smoking  until  he  has  cleaned  his  teeth.  You 
know,  the  public  doesn't  understand  me.  They  are  so 
vulgar.      They    wholly    misinterpreted    my  "  "Three 

26 


avidity,  I  was  prepared 
she  looked  or  what  she 


•J  Gertrude  Atherton  told  me:  "I  have 
promised  the  W,  C.  T.  U.  that  I  wouldn't 
smoke  in  public."  She  didn't  like  my  crude, 
bare  reports  of  her  remarks.  Photo  by  Hoover 


to  admire  her,  no  matter  how 
said.  But  in  my  capacity  of  a 
faithful  interviewer  I  was 
forced  to  record  that  she  said 
"Oh,  dear,  I  can't  talk  about 
things.  I  haven't  a  sensible 
remark  in  my  head.  Ask  me 
questions."  "W'hat  do  I  think 
about  woman's  suffrage — 
goodness,  I  don't  know,  we've 
got  it."  (You  will  recall  that 
some  of  her  brilliantly  caustic 
literary  witicisms  and  joshing 
of  the  anti-statesmen  played 
a  large  part  in  helping  that 
along.)  "No,  I  don't  expect 
we  shall  be  any  brighter  than 
the  men.  Oh,  dear,  I  am  not 
saying  anything  bright,  am  I  ? 
I  never  can  when  I  am  inter- 
viewed. Those  in  my  books 
are  worked  over  and  over." 
And  so  on. 

So  I   told  that,   and  also 
about  her  shy,  timid,  slightly 
dowdy,  passive  and  deceitfully 
drab-appearing   personality — - 
so  remarkable  as  encasing  so 
dazzling  witty  a  mind — .  But 
again  I  liked  her,  just  as  she 
was,  just  as  I  wrote  about  her. 
Her     enchanting     modesty  in- 
trigued me.    But  I  have  reason 
to  believe  that  even  my  adored  Alice  felt  that  I  had 
failed  her.    She,  my  fine  intellectual  Alice,  could  have 
'  stood  just  a  little  hokum. 

Mary  Roberts  Rinehardt  was  different  yet  again. 
She  has  all  the  dazzling  personality  and  I  said  so.  She 
talked  blithely  on  every  subject  under  the  sun.  She 
may,  indeed,  be  counted  a  professional  expert  inter- 
viewee, she  manages  to  convey  a  careless  impression  of 
complete  frankness  while  actually  remaining  the  pink 
discretion.    And  she  can  stand  verbatim  reporting. 


of 


So  I  wrote  it  just  as  she  said  it — but  I  really  did  not 
write  that  interview,  Mary  did  it  herself,  and  so  dashed 
well  that  I  couldn't  have  improved-  upon  it  if  I  would. 


! 


'  *iOlLYWOOO  CAUfOflHIA 

U5) 


Hence  she  wrote  me  a  charming  letter  afterwards  dis- 
playing a  gratitude  to  which  I  was  wholly  unentitled. 

Leroy  Scott,  another  "eminent  author,"  forgave  me 
everything.  But  he  felt  he  had  a  good  deal  to  forgive. 
He  was  the  masculine  counterpart  of  Alice  Duer  Mil- 
ler—delightfully good  humored,  but  painfully  shy,  and 
simply  stumped  in  the  presence  of  an  interviewer.  He 
said  he  guessed  it  was  because  he  had  had  a  suppressed 
childhood.  Naturally  I  seized  upon  that.  I  thought 
it  rather  bright  myself.  But,  as  I  said  before,  he  for- 
gave me  with  reproachful  resignation. 

R.ITA  WEIMAN  forgave  me  too.  Yet  I  was  com- 
pelled to  record  Rita  as  declaring  "California  is  simply 
wonderful.  The  people  out  here  are  simply  wonderful. 
The  studio  is  simply  won- 
derful. Mr.  Goldwyn  is  ab- 
solutely wonderful.  The  di- 
rectors are  just  wonderful." 
But  as  I  was  also  conscien- 
tiously able  to  add  that  Rita 
was  simply  wonderful  and 
her  clothes  were  simply  won- 
derful, and  her  eyes  were 
simply  wonderful,  and  her 
soft  voice  was  simply  won- 
derful, why  Rita  decided  to 
leave  it  at  that. 

It  was  somewhat  the  same 
with  Sir  Gilbert  Parker.  Sir 
Gilbert  solemnly  assured  me 
he  saw  "a  great  future  for 
motion  pictures,  that  they 
were  still  in  their  infancy, 
that  their  influence  was  very 
far-reaching,  that  their  edu- 
cational   possibilities  were 
great,  that  he  was  enjoying 
his  visit  to  California  very 
much."      Naturally    I  re- 
corded this  utterly  original 
p-ofunditv  with  scrupulous 
effect.    But  I  added  that  I 
had  reason  to  believe  that 
Sir  Gilbert  had  one  or  two 
other  ideas  in  his  head,  be- 
cause he  carried  a  little  note- 
book around   in  which  he 
gathered    up  unconsidered 
data  so  painstakingly — even  the 
remarks  of  bright  children  at  par- 
ties.   But  do  you  know,  I  am 
more  than  half  convinced  that  Sir 
Gilbert  would  have  stood  for  a 
few   flowery   embellishments  of 
my  own  with  the  utmost  sang  froid. 

In  this  connection  I  find  that  most  of  my  unpopular 
interviews  were  with  people  connected  with  motion 
pictures.  I  can  be  as  disgustingly  honest  as  I  like  with 
almost  any  other  kind  of  a  celebrity.  I  have  perpe- 
trated really  naughty  things  upon  titled  nabobs, 
bishops,  international  statesmen,  influential  bankers, 
golf  and  tennis  champions,  commercial  magnates,  auth- 
ors not  connected  with  the  films,  visiting  foreign  lec- 
turers, military  and  naval  somebodies,  with  the  utmost 
impunity.  They  will  not  only  accept  faithful  reports 
of  their  dubious  eloquence,,  but  they  will  good-humor- 
edly  stand  for  any  amount  of  joshing  on  the  side.  Even 


stage  actors  and  actresses  or  eminent  musicians  and 
opera  prima  donnas,  most  completely  equipped  with 
temperaments,  can  take  joshing  with  better  savoire  faire 
than  the  film  people.  I  have  teased  the  life  out  of  Mrs. 
Patrick  Campbell,  Cyril  Maude,  Sarah  Bernhardt,  El- 
len Terry,  Pavlowa,  Adeline  Genee,  Ruth  St.  Denis, 
john  Drew,  Mary  Garden  and  Kitty  Gordon  in  my 
"feline  past,  but  mostly  they  appeared  to  enjoy  the  joke 
on  themselves  or  certainly  concealed  any  hyper-sensi- 
tive touchiness  they  may  have  felt.  I  was  positively 
scratchy  with  the  Marquis  and  Marchioness  of  Aber- 
deen, with  John  Cowper  Powys,  with  John  Masefield, 
with  Norman  Angell,  with  Sir  Drummond  Drummond 
Frascr,  and  hosts  of  other  foreign  celebrities  while  they 
were  here,  and  while  writing  for  English  papers  in  Lon- 
don I  treated  many  a  haughty  nabob  with  frivolous 

disrespect — and  never  raised 
a  protest.  Often,  indeed,  an 
invitation  to  dinner  instead 
— which,  by  the  way,  was 
the  result  of  a  naughty  per- 
petration upon  Lady  Roth- 
ermere  when  she  recently 
visited  Los  Angeles.  But 
there  must  be  just  some- 
thing about  the  motion  pic- 
tures that  makes  its  celeb- 
rities rather  chippy — pos- 
sibly because  it  is  a  young, 
immature  industry,  socially 
insecure  as  yet,  and  a  bit 
uncertain  whether  it  is  Art, 
Realism  or  mere  commerce. 
They  all  take  themselves  so 
dashed  seriously. 

Y'eT  one  is  really  much 
more  complimentary  when 
one  is  not  complimentary. 
If  1  consider  my  celebrity 
small-fry,  not  quite  arrived, 
I  am  apt  to  let  him  down 
very  gently — a  superior  kind 
of  patronage  on  my  part. 
But  if  I  feel  that  they  per- 
sonify Success  with  a  capi- 
tal S  I  suffer  no  scruples, 
they   must   stand   the  gaff 
iust   as   a   President   or  a 
Prime  Minister  has  to — any 
old  kind  of  a  caricature.  But, 
alas,  this  sort  of  superlative  com- 
pliment is  wasted  on  so  many  of 
them — and  they  don't  get  it  at  all 
if  they  are  "in  pictures."  Actu- 
ally, of  course,  there  is  nothing 
so  insulting  as  fulsome  praise,  tactful  diplomatic  hand- 
ling, soft  soap,  flattery. 

Those  who  crave  it  suffer  grave  misgivings  about 
themselves  and  yearn  to  have  their  modest  convic- 
tions refuted.  They  know  they  can't  stand  the  Truth. 
Your  truly  vain  secure  celebrity  is  he — or  she — who 
doesn't  care  a  whoop  what  the  interviewer  says  about 
them,  since  it  can't  possibly  affect  their  comfortable 
pre-eminence.  So  the  worst  kind  of  interviewee  is 
the  one  who  is  actually  very  modest— and  ashamed 
of  it.  ' 

27 


«|  /  was  compelled  to  record  Rita  Weiman  as 
saying:  "California  is  simply  wonderful. 
The  people  out  here  are  simply  wonderful. 
Mr.  Goldwyn  is  simply  wonderful.  The 
directors  are  simply  wonderful."  Rita 
Weiman  zvas  simply  wonderful. 


'  HOU-YWOOO  C«UHMUNlA 


The  DeMilie  boys  are  sons 
of  a  newspaperman,  who  was 
David  Bela'sco's  most — 


—valued  collaborator.  William 
is  a  single-tax  devotee. 


<S  Rex  Ingram,  bom  in  Dublin, 
was  a  pantomimist  and  a 
sculptor. 


Secrets  0/  the  1  tars 

QJ 

By  Patrick  T  ar  s  n  e  y 


A  ■  ■  , 

1  LND  where  do  the  moving  picture  directors  come 
from,  or,  as  the  Ince  director,  John  Griffith  Wray  would 
say,  "Whence  come  the  moving  picture  directors?"  Mr. 
Wray,  who  looks  something  like  Shakespeare,  was  once 
a  school  teacher,  and  knows  that  a  sentence  should  not 
end  with  a  preposition.  So  does  Harrish  Ingraham, 
another  school  teacher  who  beat  his  ferule  into  a  mega- 
phone. 

David  Wark  Griffith  was  bred  in  old  Kentucky,  where, 
after  he  had  set  type  for  awhile  on  a  country  newspaper, 
he  became  a  reporter  and  then  an  actor.  Countless  actors 
and  actresses  and  directors  have  gone  to  school  to  him; 
but  that  for  which  the  stars  admire  him  most  is  it  was  he 
who  invented  the  close-up. 

His  stage  experience  was  not  so  extensive  as  was  that 
of  either  of  the  De  Milles.  They  are  sons  of  that  William 
De  Mille,  a  newspaper  man,  whom  David  Belasco  always 
looked  upon  as  his  most  valuable  collaborator.  C.  B. 
De  Mille  was  an  actor,  a  stage  director  and  the  author 
of  some  rather  nifty  musical  pieces.  His  brother  Wil- 
liam, who  was  educated  at  Columbia,  wrote  "The  War- 
rens of  Virginia,"  "Strongheart"  and  "The  Woman."  He 
has  also  written  many  articles  advocating  the  Single  Tax, 
a  cause  to  which  he  is  devoted. 

R.EX  INGRAM,  who  was  born  in  Dublin,  was  a  pan- 
tomimist and  a  sculptor  before  he  went  into  pictures  as  a 
scenario  writer.  The  war  he  depicted  in  "The  Four 
Horsemen"  was  a  war  of  which  he  got  a  birdseye  view 
while  he  was  in  the  Royal  Flying  Corps.  Maurice  Camp- 
bell, who  is  Henrietta  Crosman's  husband,  was  a  Major 
in  the  American  forces  during  the  same  war.  John  W. 
Noble  was  a  Lieutenant  in  the  United  States  Regular 
Army  for  seven  years,  and  Norman  Stevens  was  a  Lieu- 
tenant Commander  in  the  United  States  Navy.  Another 
director  who  is  a  graduate  of  Annapolis  is  Bruce  Mitchell. 

Tames  Young  also  was  educated  in  Maryland.  He 
attended  Johns  Hopkins,  played  with  Sir  Henry  Irving 
and    introduced   Shakespeare   to   vaudeville  audiences. 


Before  Norbert  Miles  directed  Helen  Gibson  in  railroad 
stories  he,  like  Henry  King,  was  a  Shakespearean  actor, 
and  before  Charles  Parrott  began  to  direct  comedies  he 
was  an  Irish  comedian  in  burlesque.  A  comedian  also 
was  Robert  Z.  Leonard,  who  directs  his  wife,  Mae  Mur- 
ray, but  before  he  was  a  comedian  he  was  a  property  man. 
Edgar  Lewis  began  his  professional  career  with  a  circus 
and  Fred  Kelsey  was  a  sailor.  Maybe  that  is  where  he 
got  his  taste  for  thrills,  but  how  about  George  B.  Seitz. 
who  was  educated  in  a  Quakers'  school? 

Harry  Lambart  was  a  British  cavalry  officer  for  nine 
years,  but  Wilfred  North  did  his  riding  as  a  cowboy  and 
became  a  director  only  after  he  sandwiched  the  practice 
of  law  between  the  saddle  and  the  studio.  Charles  A. 
Taylor  also  was  a  cowboy,  but  in  his  career  punching 
cattle  was  a  mere  episode.  He  once  worked  in  a  con- 
struction gang  on  the  Southern  Pacific  Railroad,  later 
looked  for  gold  in  Alaska  and  still  later  found  some  by 
writing  thirty  melodramas.  Laurence  Trimble,  who  di- 
rected the  dog  picture,  "The  Silent  Call,"  was  formerly 
in  the  lumber  business,  and  Henry  Robert  Symons  sold 
automobiles  in  Chicago  and  Los  Angeles. 

CHESTER  BENNETT  practiced  law  in  the  latter  city 
and  Fred  E.  Wright  also  was  a  lawyer.  T.  Searle  Dawiey 
could  have  been  a  resonant  jury  lawyer,  for  he  studied 
at  a  school  of  oratory  in  Denver.  Hugo  Baliin  went  to 
an  art  school  and  is  the  only  director  who  is  a  member 
of  the  National  Institute  of  Arts  and  Letters  and  of  the 
National  Academy  of  Design.  Robert  Brunton  and  Wray 
Physioc  were  scenic  artists  and  Briant  Young  and  Harry 
Revier  certainly  should  know  what  sort  of  pictures  the 
public  likes,  as  they  were  exhibitors  of  film  before  they 
became  the  makers  thereof. 

George  Fitzmaurice  is  one  of  the  most  artistic  of  direc- 
tors because  he  was  born  in  Paris,  and  Lambert  Hillyer, 
who  directed  many  of  Bill  Hart's  best  westerns,  was  born 
in  South  Bend,  Ind.,  and  played  college  and  professional 
football  before  he  came  into  pictures  via  vaudeville. 


\ 


28 


f^P  MOLiVWOOO  CALlfOfcHIA 


George  Fitzmaunce  is  otic 
of  the  most  artistic  directors, 


because  he  was  horn 
Paris. 


in 


Sidney  A.  Franklin  has  a 
brother,  Chester,  who  was  a 
Keystone  cop  at  three  dol- 
lars a  day. 


*!  Fred  Niblo  was  an  actor  and 
a  elohe  trotter. 


Reaves  Eason  sang  songs  in  vaudeville  and  Julius  Steger 
sang  them  there  and  in  light  opera. 

But  William  Worthington,  whose  real  name  is  O  Ma- 
honey,  sang  in  grand  opera  and  played  Wealth  in  "Every- 
wornan."  Allen  Holubar  was  an  actor  in  the  same  com- 
pany. Neither  of  them  went  on  the  stage  as  early  as 
E.  Mason  Hopper  or  Frank  Borzage,  who  were  actors  at 
fourteen.  Murdock  MacOuarrie  went,  on  when  he  was 
seven  and  Reginald  Barker  wrote  and  staged  his  first  play 
at  sixteen. 

James  Cruze  went  out  with  a  medicine  show  when  he 
was  in  his  teens  and  before  he  was  old  enough  to  vote 
he  was  at  the  head  of  his  own  repertoire  company  m 
which  appeared,  for  a  brief  engagement,  that  sterling- 
actor,  Eugene  B.  Lewis,  who  is  now  a  scenario  writer. 
Clarence  Badger  wrote  stories  for  "The  Youth's  Compan- 
ion" and  T-  A.  Fitzgerald  rode  horses  for  Buffalo  Bill. 

Fred  Le  Roy  Granville  has  had  scarcely  any  experiences 
to  speak  of.  He  was  in  the  United  States  Cavalry,  lived 
for  several  years  in  the  South  Seas  and  then,  tiring  of  the 
heat,  went  to  Northeast  Siberia,  taking  with  him  the  first 
camera  the  natives  of  that  cool  land  had  ever  seen.  Paul 
Powell,  who  directs  in  a  whisper,  was  once  a  newspaper 
reporter.  So  was  Romainc  Fielding,  who.  like  Napoleon 
Bonaparte,  was  born  in  Corsica.  Like  Napoleon,  he  at- 
tended a  military  school,  but  there  their  paths  diverged, 
tor  Mr.  Fielding  became  a  physician. 


H, 


_ERBERT  BLACHE,  who  was  born  in  England,  was 
educated  in  France,  and  his  wife,  who  is  also  a  director, 
was  born  in  France  and  educated  in  Switzerland.  Mau- 
rice Toumeur  was  born  and  educated  in  France,  as  were 
Leonce  Perret,  Albert  Capellani  and  George  Archainbaud. 
Ivan  Abramson,  who  would  find  quite  a  few  changes  in 
his  old  home  town  in  Russia  if  he  went  back  there  now, 
ran  the  Abramson  Opera  Company  before  he  began  to 
write  and  direct  Jacob  Adler. 

Tohn  S.  Robertson  was  an  actor  and  so  was  George  D. 
Baker  before  he  became  a  theatrical  manager.  George 
Melford  acted  on  the  stage  and  for  the  screen  before  he 
became  a  director  and  Henry  Alex- 
ander McRae  could  act  as  best  suited 
him.  He  owned  his  own  company. 
Fred  Niblo,  another  actor,  a  globe 
trotter  who  has  played  in  every 
English-speaking  country  in  the 
world,  and  in  a  few  in  which  English 
is  not  spoken,  had  probably  done 
more  traveling  than  has  the  aver- 
age citizen  of  York.  Neb.,  which  is 
the    Niblo    home    port.  Jimmie 


P 


Home,  who  was  a  scenario  editor  before  he  discovered 
that  it  is  easier  to  direct  them  than  to  write  them,  did 
not  have  to  travel  far  to  get  into  pictures.  He  was  born 
in  San  Francisco,  as  was  Sidney  A.  Franklin.  His 
brother,  Chester,  was  a  successful  artist  before  he  got 
his  first  picture  job  as  a  Keystone  cop  and  he  made 
three  dollars  each  and  every  day.  Penryn  Stanlaws, 
another  artist,  became  a  director  without  having  to  be 
an  actor. 

William  P.  S.  Earle,  an  alumnus  of  Columbia,  special- 
ized in  art  photography,  and  Twin  Willat  included  in 
his  activities  acting,  the  making  of  decorated  titles  and 
operating  a  moving  picture  camera  before  becoming  a 
director.  Victor  Fleming,  who  looks  like  a  leading  man 
of  the  husky  school,  was  an  automobile  racing  driver. 
Louis  Chaudet  was  a  barber,  and  a  good  one,  and  Ru~. 
pert  Julian,  wdio  never  wears  a  hat,  knows  as  much 
about  cutting  hair  and  shaving  as  anybody.  Al  Santell 
was  an  architect  and  Joe  Henabery  started  to  become 
one. 

Hugh  Ford  p-oduced  plays  for  the  Lieblers,  as  did 
Barley  Knoles ;  George  Irving  was  a  producer  for 
Charles  Frohman  for  thirteen  years  and  T.  Haves 
Hunter  worked  for  David  Belasco  for  th-ee.  J.  Gordon 
Edwards  put  on  mce  than  two  hundred  plavs  in  stock 
for  William  Fox  at  the  Academy  of  Music  in  New 
York,  and  John  Emerson,  who  was  a  stage  director  for 
Frohman  and  the  Shuberts,  wrote  a  play  called  "The 
Conspiracy,"  in  which  the-e  is  a  great  part  for  Wilton 
Lackaye. 

HgAVARD  HICKMAN  played  with  Sarah  Bernhardt 
aiicl  Reggie  Morris  with  Richard  Carle.    William  NiHi 
and  Wresley  Ruggles  were  musical  comedians  and  Phil- 
lips Smallev,  Lois  Weber's  husband,  practiced  at  the 
New  York"  bar  for  seven  years  before  going  on  the 
stage.    Miss  Weber,  who  be<?an  her  professional  career 
in  concert  work,  became  a  member  of  his  company. 
Kenneth  Webb,  wdio  know\s  the  Columbia  yells  as 
well  as  Mr.  Earle  knows  them,  wrote 
musical  shows  before  tackling  the 
silent  drama,  although  his  voice  is 
not  so  well  trained  as  is  that  of 
lames  Vincent,  through  whose  mega- 
phone filter  tones   cultivated   in  a 
school  of  oratory  and  dramatic  art. 
Wallace  Worsley,  formerly  of  Wap- 
pinger's  Falls,  N.  Y.,  did  not  attend 
a  school  of  orator>'.  but  went  to 
Brown  University  instead. 

29 


AT  TARSNEY,  the  studio 
encyclopedist,  has  related  the 
past  of  actors  and  actresses.  This 
month  he  informs  you  where  the 
directors  come  from.  In  Screen- 
land  for  December  he  will  pry 
into  the  history  of  scenario  writ- 
ers—then the  star  producers. 


HOvLVVnOOO  C4.tifOR.NIA 


Qjl)hat  the  FANS 

WRITE  to  the  }tdrs 

f|  Every  letter  a  .rta;-  receives  /row  an  ad- 
mirer j.y  worth  money  /o  the  star — but 
hundreds  of  letters  are  never  answered. 
Why? 

r 

J  jNVELOPES  sealed  with  the  imprint  of  kisses, 

"please  send  me"  letters,  requests  for  money,  clothes, 
photographs,  autographs,  prospectuses  of  hopeless  inven- 
tions and  get-rich-quick  schemes — every  day  the  Holly- 
wood mails  are  crammed  with  these  epistles  to  the  popular 
stars. 

What  becomes  of  "fan"  letters  and  "mash"  notes  ?  Do 
the  senders  ever  hear  from  the  recipient  of  their  tender 
regards?  If  "stills"  were  sent  out  to  every  request  that  the 
mail  man  brings,  studio  photog- 
raphers would  soon  be  working      ^     :  ...    ,  -  - 
in  three  shifts.  And  every  girl-  ~. ------ 

fan  in  the  country  would  have 
her  boudoir  walls  covered  with 
them. 

Every  star  has  a  "fan"  policy. 
Some  send  out  photographs  and 
others  do  not.  Some  employ 
secretaries  to  handle  the  mass 
of  correspondence  that  reaches 
them  and  others,  in  regular  em- 
ploy of  a  studio,  turn  it  over  to 
the  organization's  publicity  de- 
partment.    For  it  is  by  the 

volume  of  a  player's  letters  that      ■   ■  ■'  • — — — — 

his  popularity  is  gauged.  And 

then  there  are  a  few  who  have  risen  to  the  point  of  estab- 
lished success  who  ignore  pleas  from  their  admirers. 

Mary  Pickford's  "fan"  letters  have  gone  high  into  the 
thousands  each  year.  To  satisfy  every  supplicant  with  a 
picture  of  herself  was  a  financial  problem,  yet  "America's 
sweetheart"  chose  not  to  disappoint  them.  So  she  charges 
fifty  cents  each  for  her  photographs.  The  proceeds  remain- 
ing from  the  cost  of  printing  them  go  to  charity. 

A  heavy  fan  mail  is  an  asset  to  an  independent  player 
in  getting  a  big  salary  or  a  fat  contract.  The  letters  also 
help  convince  film  buyers  of  the  value  of  such  a  star's 
name  in  a  play  because  they  can  assure  exhibitors  of  a 


x 


30 


demand  for  it  and  an  assured  attendance.  Friendship 
yields  value  in  many  strange  ways  in  the  movies. 

A  vast  fund  of  human  interest,  both  pathetic  and  laugh- 
able, is  buried  in  the  piles  of  letters  that  reach  the  stars. 

A  little  girl  in  Texas  penned  *m  affectionate  note  to 
Mary  Miles  Minter,  in  which  was  written:  "I  am  simply 
ivild  about  you  and  I  think  you  are  the  most  beautiful  girl 
I  ever  saw."  But  the  envelope  was  addressed  to  Gloria 
Swanson.  The  little  girl  is  still  waiting  for  the  picture 
she  wanted. 

Of  course,  the  type  stars  portray  on  the  screen  is 
responsible  for  the  sort  of  letters  they  get.  Bill  Hart 
seldom  hears  from  sweet  young  things  who  yearn  to  deco- 
rate their  dressers  with  his  like- 
ness. But  Rodolf  Valentino  and 
Wallace  Reid  receive  many 
passionate  love  letters  among 
their  mail.  These  are  usually 
marked  "private"  or  "per- 
sonal." 

"I  am  coming  to  California," 
a  girl  in  Maryland  wrote  Wally, 
"and  when  I  get  there  I  am 
going  to  call  on  you.  I  hope 
your  w;fe  hasn't  any  objec- 
tions." A  pink  envelope  from 
Pennsylvania  held  a  card  im- 
ploring Wally  for  a  photograph 
of  his  young  son,  Billy.  A 
young  man  in  need  of  one  thou- 
sand dollars  for  five  years  at  six  per  cent  wrote  Thomas 
Meighan  that  he  would  call  at  the  star's  home  any  evening 
and  sign  a  note  for  the  amount.  "I've  got  to  get  it  some- 
how," he  declared. 

Lila  Lee  gets  many  letters  from  admirers  in  Latin 
America.  Her  dark  type  of  beauty  seems  to  attract  the 
Spanish-speaking  playgoers.    All  of  them  are  men. 

A  young  wife,  about  to  become  a  mother,  wanted  baby 
clothes.  "I  have  heard  that  you  never  wear  the  same 
costume  twice,"  a  letter  stated.  "If  you  have  any  of  these 
I  would  be  glad  to  have  them  for  myself." 

"You  are  so  wonderful.  I  adore  you  from  head  to  toe. 
I  have  quite  a  collection  of  pictures  but  I  must  have  yours. 
And  won't  you  write  me  a  nice  long  letter?"  came  under 
a  Delaware  postmark. 

One  writer  sent  to  Dorothy  Dalton  for  Rodolf  Valen- 
tino's address.  Another  message  informed  May  McAvoy 
that  Wanda  Hawley  was  the  best-looking  woman  on  the 
screen.  A  Manila  youth,  who  saw  Bebe  Daniels  slain  in  a 
picture,  implored  her  for  a  dated  photograph  so  he  could 
be  sure  that  she  was  still  alive. 

"I  have  to  chop  wood  every  night  after  school  and  I 
want  a  picture  of  you  for  my  little  sister's  piano,"  an 
eight-year-old  Kansas  boy  explained  in  a  message*  to 
Jack  Holt. 

Some  girls  artfully  attempt  to  interest  stars  in  their 
potential  qualifications  for  acting.  "I  am  eighteen  years 
old,  five  feet  four,  weight  one      {Continued  on  page  64) 


MY  Trip// BROAD 


By  /fcy*^ 


V 


A  T  the  gate  of  the  Wells 
estate  a  young  lad  of  10  greets 
us  with  a  jovial  twinkling  of  the 
eye  and  a  brisk  manner.  There 
is  no  mistaking  him.  He  is  H. 
G.'s  son.  There  is  the  same 
molding  of  the  structure  and  the 
same  rounded  face  and  eyes.  H. 
G.  must  have  looked  that  way  at 
his  age. 

"Hello,  dad."  as  he  jumps  on 
the  running  board. 

"This  is  Charlie."  H.  G.  in- 
troduces me. 

He  takes  my  grip.  "How  do?"  j 
and  I  make  a  bromide  about 
what  a  fine  boy  he  is  and  all  that 
sort  of  thing. 

Mrs.  Wells  is  a  charming  little 
lady  with  keen,  soft  eyes  that 
are  always  smiling  and  appar- 
ently searching  and  seeking 
something.  A  real  gentlewoman, 
soft-voiced,  also  with  humor- 
ous lines  playing  around  her 
mouth. 

Every  one  seems  busy  taking 
me  into  the  house  and  once  there   H.  G.  takes  me  all  over  it. 
to  my  room,  the  dining-room,  the  sitting-room  and,  an 
extra  privilege,  to  his  study.    "My  workshop,"  he  calls  it. 

"Here's  where  the  great  events  in  the  history  of  the 
world  took  place?" 

He  smiles  and  says  "Yes."  The  "Outline  of  History" 
was  born  here. 


T 


HE  room  is  not  yet  finished,  and  it  is  being  decorated 
around  the  fireplace  by  paintings  made  by  himself  and 
wife.  "I  paint  a  bit,"  he  explains.  There  is  also  some 
tapestry  woven  by  his  mother. 

"Here  is  a  place  if  you  want  to  escape  when  the  strain 
is  too  much  for  you.  Come  here  and  relax."  I  felt  that 
this  was  his  greatest  hospitality.  But  I  never  used  the 
room.    I  had  a  feeling  about  that,  too. 

The  study  is  simple  and  very  spare  of  furniture.  There 
is  an  old-fashioned  desk  and  I  get  the  general  impression 
of  books,  but  I  can  remember  but  one,  the  dictionary. 
Rare  observation  on  my  part  to  notice  nothing  but  a  dic- 
tionary, and  this  was  so  huge  as  it  stood  on  his  desk  that  I 
couldn't  miss  it. 

There  is  a  lovely  view  from  the  house  of  the  country- 
side, with  wide  stretches  of  land  and  lovely  trees ;  there 
deer  are  roaming  around  unafraid. 


profound  analytical  discussion 
about  the  sting  of  a  wasp  as  one 
of  the  insects  buzzed  around  the 
table. 

It  is  a  bit  strange  to  me  and  I 
cannot  get  into  the  spirit  of  it, 
though  it  is  very  funny.  I  just 
watch  and  smile.  Junior  is  very 
witty.  He  tops  his  father  with 
jokes,  but  I  sense  the  fact  that 
H.  G.  is  playing  up  to  him. 
There  is  a  twinkle  in  H.  G.'s  eye. 
He  is  proud  of  his  boy.  He 
should  be. 

After  lunch  we  walk  about  the 
grounds  and  I  doze  most  of  the 
afternoon  in  the  summer  house. 
They  leave  me  alone  and  I  have 
my  nap  out. 

A  number  of  friends  arrive 
later  in  the  evening  and  we  are 
introduced  all  around.    Most  of 
these  are  literary,  and  the  dis- 
cussion is  learned.     St.  John 
Ervine,  the  dramatist  and  author 
of  "John  Ferguson,"  came  in 
later  in  the  evening. 
Ervine  discusses  the  possibility  of  synchronizing  the 
voice  with  motion  pictures.  He  is  very  much  interested.  I 
explain  that  I  don't  think  the  voice  is  necessary,  that  it 
spoils  the  art  as  much  as  painting  statuary.    I  would  as 
soon  rouge  marble  cheeks.    Pictures  are  pantomimic  art. 
We  might  as  well  have  the  stage.    There  would  be  noth- 
ing left  to  the  imagination. 

A  NOTHER  son  comes  in.  He  is  more  like  his  mother. 
We  all  decide  to  play  charades  and  I  am  selected  as  one 
of  the  actors.  I  play  Orlando,  the  wrestler,  getting  a  lot 
of  fun  through  using  a  coal  hod  as  a  helmet.  Then  Noah's 
Ark,  with  Junior  imitating  the  different  animals  going  into 
the  ark,  using  walking  sticks  as  horns  for  a  stag,  and  put- 
ting a  hat  on  the  end  of  the  stick  for  a  camel,  and  .making 
elephants  and  many  other  animals  through  adroit  quick 
changes.  I  played  old  Noah  and  opened  an  umbrella  and 
looked  at  the  sky.  Then  I  went  into  the  ark  and  they 
guessed.  Then  H.  G.  Wells  did  a  clog  dance,  and  did  it  very 
well.  We  talked  far  into  the  night,  and  I  marveled  at 
Wells'  vitality.  We  played  many  mental  guessing  games 
and  Junior  took  all  honors. 


I 


M 


.RS.  WELLS  is  getting  lunch  and  we  have  it  outdoors. 
Junior  is  there,  the  boy — I  call  him  that  already.  Their 
conversation  is  rapid,  flippant.    Father  and  son  have  a 


WAS  awakened  next  morning  by  a  chorus  outside  my 
door :  "We  want  Charlie  Chaplin."  This  was  repeated 
many  times.  They  had  been  waiting  breakfast  half  ah 
hour  for  me. 

After  breakfast  we  played  a  new  game  of  H.  G.'s 
own  invention.    Every  one  was  in  it  and  we  played  it  in 

.31 


/P  HOLLYWOOD  CALIFORNIA 

the  barn.  It  was  a  combination  of  handball  and  tennis, 
with  rules  made  by  H.  G.    Very  exciting  and  good  fun. 

Then  a  walk  to  Lady  Warwick's  estate.  As  I  walk  I 
recall  how  dramatic  it  had  sounded  last  night  as  I  was  in 
bed  to  hear  the  stags  bellowing,  evidently  their  cry  of 
battle. 

The  castle,  with  beautiful  gardens  going  to  seed,  seemed 
very  sad,  yet  its  ruins  assumed  a  beauty  for  me.  I  liked 
it  better  that  way.   Ruins  are  majestic. 

H.  G.  explains  that  every  one  about  is  land  poor.  It 
takes  on  a  fantastic  beauty  for  me,  this  cultivation  of 
centuries  now  going  to  seed,  beautiful  in  its  very  tragedy. 

Home  for  tea  and  in  the  evening  I  teach  them  base- 
ball. Here  is  my  one  chance  to  shine.  It  is  funny  to  see 
H.  G.  try  to  throw  a  curve  and  being  caught  at  first 
base  after  hitting  a  grounder  to  the  pitcher.  H.  G.  pitched 
and  his  son  caught.  As  a  baseball  player  H.  G.  is  a  great 
writer.  Dinner  that  night  is  perfect,  made  more  enjoy- 
able for  our  strenuous  exercise.  As  I  retire  that  night  I 
think  of  what  a  wonderful  holiday  I  am  having. 

N  EXT  day  I  must  leave  at  2  :30  p.  m.,  but  in  the  morn- 
ing H.  G.  and  I  take  a  walk  and  visit  an  old  country 
church  built  in  the  eleventh  century.  A  man  is  working 
on  a  tombstone  in  the  churchyard  engraving  an  epitaph. 

H.  G.  points  out  the  influence  of  the  different  lords  of 
the  manor  on  the  art  changes  of  different  periods.  Here 
the  families  of  Lady  Warwick  and  other  notable  people 
are  buried.  The  tombstones  show  the  influence  of  the 
sculpture  of  all  periods. 

We  go  to  the  top  of  the  church  and  view  the  surround- 
ing country  and  then  back  home  for  lunch.  My  things 
are  all  packed  and  H.  G.  and  his  son  see  me  off.  H.  G. 
reminds  me  not  to  forget  another  engagement  to  dine  with 
him  and  Chaliapin.  the  famous  Russian  baritone. 

As  I  speed  into  town  I  am  wondering  if  Wells  wants 
to  know  me  or  whether  he  wants  me  to  know  him.  I  am 
certain  that  now  I  have  met  Wells,  really  met  him,  more 
than  I've  met  any  one  in  Europe.    It's  so  worth  while. 

I  HAD  promised  to  attend  the  premiere  showing  of  "The 
Kid"  in  Paris  and  I  went  back  to  the  French  capital  as  I 
came,  via  airplane.  The  trip  was  uneventful,  and  on  land- 
ing and  going  to  mv  hotel  I  find  a  message  from  "Doug" 
Fairbanks.  He  and  Mary  had  arrived  in  Paris  and  were 
stopping  at  the  Crillon.  They  asked  me  over  for  a  chat, 
but  I  was  too  tired.  "Doug"  promised  to  attend  the  pre- 
miere at  the  Trocadero  theater. 

During  the  afternoon  there  came  250  souvenir  pro- 
grams to  be  autographed.  These  were  to  be  sold  that 
night  for  100  francs  each. 

In  the  evening  I  went  to  the  theater  via  the  back  way, 
but  there  was  no  escape.  It  was  the  biggest  demonstra- 
tion I  have  yet  seen.  For  several  blocks  around  the 
crowds  were  jammed  in  the  streets  and  the  gendarmes 
had  their  hands  full. 

Paris  had  declared  a  holiday  for  this  occasion  and  as  the 
proceeds  of  the  entertainment  were  to  be  given  to  the 
fund  for  devastated  France  the  elite  of  the  country  were 
there.  I  am  introduced  to  Ambassador  Herrick,  then 
shown  to  my  box  and  introduced  to  the  ministers  of  the 
French  Cabinet. 

I  DO  not  attempt  to  remember  names,  but  the  following 
list  has  been  preserved  for  me  by  my  secretary : 

M.  Menard,  who  attended  on  behalf  of  President  Mil- 
lerand ;  M.  Jusserand,  M.  Herbette,  M.  Careron,  M.  Lou- 
cheur,  minister  of  the  liberated  regions ;  M.  Hermite,  Col. 
and  Mrs.  H.  H.  Harjes,  Miss  Hope  Harjes,  Mr.  and  Mrs. 
Ridgelev  Carter,  Mrs.  Arthur  James,  Mrs.  W.  K.  Vander- 
bilt,  Mrs.  Rutherford  Stuyvesant,  Walter  Berry,  M.  de 
Err'axu,  Marquis  de  Vallambrosa,  Mile.  Cecile  Sorel,  Rob- 


ert Hostetter,  M.  Byron-Kuhn,  Mr.  and  Mrs.  Charles  G. 
Loeb,  Florence  O'Neill,  M.  Henri  Lettelier,  M.  Georges 
Carpentier,  Paul  C.  Otey,  Mr.  and  Mrs.  George  Kenneth 
End,  Prince  George  of  Greece,  Princess  Xenia,  Prince 
Christopher,  Lady  Sarah  Wilson,  Mrs.  Elsa  Maxwell, 
Princess  Sutzo,  Vice- Admiral  and  Mrs.  Albert  P.Niblack, 
Comte  and  Comtesse  Cardelli,  Duchess  de  Talleyrand,  Col. 
and  Mrs.  N.  D.  Jay,  Col.  Bunau  Varila,  Marquise  de 
Talleyrand-Perigord,  Marquis  and  Marquise  de  Cham- 
brun,  Miss  Viola  Cross,  Miss  Elsie  De  Wolf,  Marquis 
and  Marquise  de  Dampierre  and  Mr.  and  Mrs.  Theodore 
Rousseau. 

M  Y  box  is  draped  with  American  and  British  flags,  and 
the  applause  is  so  insistent  that  I  find  I  am  embarrassed. 
But  there  is  a  delicious  tingle  to  it  and  I  am  feeling  now 
what  Doug  felt  when  his  "Three  Musketeers"  was  shown. 
The  programs  which  I  autographed  during  the  afternoon 
are  sold  immediately  and  the  audience  wants  more.  I 
autograph  as  many  more  as  possible. 

I  am  photographed  many  times  and  I  sit  in  a  daze 
through  most  of  it,  at  one  time  going  back  stage,  though  I 
don't  know  why,  except  that  I  was  photoed  there,  too. 

The  picture  was  shown,  but  I  did  not  see  much  of  it. 
There  was  too  much  to  be  seen  in  that  audience. 

At  the  end  of  the  picture  there  came  a  messenger  from 
the  Minister:  "Would  I  come  to  his  box  and  be  deco- 
rated?" I  almost  fell  out  of  my  box. 

I  grew  sick.  What  would  I  say  ?  There  was  no  chance 
to  prepare.  I  had  visions  of  the  all-night  preparation  for 
my  speech  in  Southampton.  This  would  be  infinitely 
worse.  I  couldn't  even  think  clearly.  Why  do  I  pick 
out  stunts  like  that  ?  I  might  have  known  that  something 
would  happen. 

But  the  floor  would  not  open  up  for  me  to  sink  through 
and  there  was  no  one  in  this  friendly  audience  who  could 
help  me  in  my  dilemma  and  the  messenger  was  waiting 
politely,  though  I  imagined  just  a  bit  impatiently,  so, 
summoning  what  courage  I  had,  I  went  to  the  box  with 
about  the  same  feeling  as  a  man  approaching  the  guillo- 
tine. 

I  am  presented  to  everybody.  He  makes  a  speech.  It 
is  translated  for  me,  but  very  badly.  While  he  was  speak- 
ing I  tried  to  think  of  something  neat  and  appropriate, 
but  all  my  thoughts  seemed  trite.  I  finally  realized  that 
he  was  finished  and  I  merely  said :  "Merci,"  which,  after 
all,  was  about  as  good  as  I  could  have  done. 

And,  believe  me,  I  meant  "Merci"  both  in  French  and 
in  English. 

But  the  applause  is  continuing.  I  must  say  something, 
so  I  stand  up  in  the  box  and  make  a  speech  about  the 
motion-picture  industry  and  tell  them  that  it  is  a  privilege 
for  us  to  make  a  presentation  for  such  a  cause  as  that  of 
devastated  France. 

SOMEHOW  they  liked  it,  or  made  me  believe  they  did. 
There  was  a  tremendous  demonstration  and  several 
bearded  men  kissed  me  before  I  could  get  out.  But  I  was 
blocked  in  and  the  crowd  wouldn't  leave.  At  last  the 
lights  were  turned  out,  but  still  they  lingered.  Then  there 
came  an  old  watchman  who  said  he  could  take  us  through 
an  unknown  passage  that  led  to  the  street. 

WTe  followed  him  and  managed  to  escape,  though  there 
was  still  a  tremendous  crowd  to  break  through  in  the 
street.  Outside  I  meet  Cami,  who  congratulates  me,  and 
together  we  go  to  the  Hotel  Crillon  to  see  "Doug"  and 
Mary. 

Mary  and  "Doug"  are  very  kind  in  congratulating  me, 
and  I  tell  them  of  my  terrible  conduct  during  the  pre- 
sentation of  the  decoration.   I  knew  that  I  was  wholly  in- 
adequate for  the  occasion.     1  keep  mumbling  of  my 


32 


f 


faux-pas  and  they  try  to  make  me  forget  my  misery  by 
telling  me  that  General  Pershing  is  in  the  next  room. 

I'll  bet  the  General  never  went,  through  a  battle  like  the 
one  I  passed  through  that  night. 

Then  they  wanted  to  see  the  decoration,  which  re- 
minded me  that  I  had  not  yet  looked  at  it  myself.  So  I 
unrolled  the  parchment  and  "Doug"  read  aloud  the  magic 
words  from  the  Minister  of  Instruction  of  the  public  and 
beaux  arts  which  made  Charles  Chaplin,  dramatist,  artist, 
an  officier  de  1'instruction  publique. 

We  sit  there  until  three  in  the  morning  discussing"  it, 
and  then  I  go  back  to  my  hotel  tired  but  rather  happy. 
That  night  was  worth  all  the  trip  to  Europe. 

At  the  hotel  there  was  a 
note  from  Skaya.  She  had 
been  to  the  theater  to  see 
the  picture.  She  sat  in  the 
gallery  and  saw  "The  Kid," 
taking  time  off  from  her 
work. 

Her  note :  "I  saw  pic- 
ture. You  are  a  grand 
man.  My  heart  is  joy. 
You  must  be  happy.  I 
laugh — I  cry.  Skaya." 

This  little  message  was 
not  the  least  of  my  pleas- 
ures that  night. 

Elsie  de  Wolf  was  my 
hostess  at  luncheon  next 
day  at  the  Villa  Trianon, 
Versailles,  a  most  interest- 
ing and  enjoyable  occasion, 
where  I  met  some  of  the 
foremost  poets  and  artists. 


,''p  HOLLYWOOD  C<KLirOftNIA 

driven  to  the  Ritz,  but  to  the  Majestic  Theater  in  Clapham. 

The  chauffeur  wore  a  mustache,  and  though  he  looked 
familiar  I  did  not  recognize  him.  But  very  dramatically 
he  removed  the  mustache. 

"I  am  Castleton  Knight.  A  long  time  ago  you  promised 
me  to  visit  my  theater.  I  have  concluded  that  the  only 
way  to  get  you  there  is  to  kidnap  you.  So  kindly  consider 
yourself  kidnapped." 

I  couldn't  help  but  laugh,  even  as  I  thought  of  Lloyd 
George,  and  I  assured  Mr.  Knight  that  he  was  the  first  one 
who  had  ever  kidnapped  me.  So  we  went  to  the  theater 
and  I  stayed  an  hour  and  surprised  both  myself  and  the 
audience  by  making  a  speech. 

Back  at  my  hotel,  Sir  Philip  meets  me  and  tells  me  that 

Lloyd  George  couldn't 
wait,  that  he  had  a  most 
important  engagement  at  4 
o'clock.  I  explained  the 
airplane  situation  to  Sir 
Philip  and  he  was  very 
kind.  I  feel  that  it  was 
most  unfortunate,  for  it 
was  my  only  opportunity 
to  meet  Lloyd  George  in 
these  times,  and  I  love  to 
meet  interesting  person- 
ages. I  would  like  to  meet 
Lenin,  Trotsky  and  the 
Kaiser. 


T) 


R 


ETURNING  to  Paris, 
I  met  Henry  Wales  and  we 
take   a   trip  through  the 

Latin  quarter  together.  That  night  I  dine  with  Cami, 
Georges  Carpentier  and  Henri  Letellier.  Carpentier  asks 
for  an  autograph  and  I  draw  him  a  picture  of  my  hat, 
shoes,  cane  and  mustache,  my  implements  of  trade.  Car- 
pentier, not  to  be  outdone,  draws  for  me  a  huge  fist  incased 
in  a  boxing  glove. 

I  am  due  back  in  England  next  day  to  lunch  with  Sir 
Philip  Sasson  and  to  meet  Lloyd  George,  Lord  and  Lady 
Rock-Savage,  Lady  Diana  Manners  and  many  other 
prominent  people  are  to  be  among  the  guests,  and  I  am 
looking  forward  to  the  luncheon  eagerly. 

We  are  going  back  by  airplane,  though  Carl  Robinson 
lets  me  know  that  he  prefers  some  other  mode  of  travel. 
On  this  occasion  I  am  nervous  and  I  say  frequently  that 
I  feel  as  though  something  is  going  to  happen.  This  does 
not  make  a  hit  with  Carl. 

We  figure  that  by  leaving  at  8  o'clock  in  the  morning 
we  can  make  London  by  1  o'clock,  which  will  give  me 
plenty  of  time  to  keep  my  engagement. 


^  An  intimacy  quickly  developed  after  Chaplin's  first 
meeting  with  hi.  G.  Wells,  celebrated  novelist  and  his- 
torian. Anecdotes  told  by  Chaplin  of  the  strange  friend- 
ship bctzveen  these  two  incongruously  different  men 
contain  peculiar  interest.  This  photograph  was  made  in 
Wells'  "workshop"  during  a  week-end  visit  of  Charlie 
at  Wells'  country  estate. 


B 


UT  we  haven't  been  up  long  before  we  were  lost  in  the 
fog  over  the  channel  and  were  forced  to  make  a  landing 
on  the  French  coast,  causing  a  delay  of  two  hours.  But 
we  finally  made  it,  though  I  was  two  hours  late  for  my 
engagement,  and  the  thought  of  keeping  Lloyd  George  and 
those  other  people  waiting  was  ghastly. 

Our  landing  in  England  was  made  at  the  Croydon 
erodrome,  and  there  was  a  big  automobile  waiting  out- 
ide.  around  which  were  several  hundred  peoDle.  The 
aerodrome  officials,  assuming  that  the  car  was  for  me, 
hustled  me  into  it  and  it  was  driven  off. 

But  it  was  not  mine,  and  I  found  that  I  was  not  being 


HIS  is  to  be  my  last 
night  in  England,  and  I 
have  promised  to  dine  and 
spend  the  evening  with  my 
Cousin  Aubrey.  One  feels 
dutiful  to  one's  cousin. 

I  also  discover  that  this 
is  the  day  I  am  to  meet 
Chaliapin  and  H.  G.  Wells. 
I  phone  H.  G.  and  explain 
that  this  is  my  last  day,  and  of  my  promise  to  my  cousin. 
H.  G.  is  very  nice.    He  understands.    You  can  only  do 
these  things  with  such  people. 

My  cousin  calls  for  me  at  dusk  in  a  taxi  and  we  ride 
to  his  home  in  Bayswater.  London  is  so  beautiful  at  this 
hour,  when  the  first  lights  are  being  turned  on,  and  each 
light  to  me  is  symbolical.  They  all  mean  life,  and  I  wish 
sometimes  I  could  peer  behind  all  these  lighted  windows. 

Reaching  Aubrey's  home,  I  notice  a  number  of  people 
on  the  other  side  of  the  street,  standing  in  the  shadows. 
They  must  be  reporters,  I  think,  and  am  slightly  annoyed 
that  they  should  find  me  even  here.  But  my  cousin  ex- 
plains hesitatingly  that  they  are  just  friends  of  his  waiting 
for  a  look  at  me.  I  feel  mean  and  naughty  about  this 
as  I  recall  that  I  had  requested  him  not  to  make  a  party 
of  my  visit. 

I  JUST  wanted  a  family  affair,  with  no  visitors,  and 
these  simple  souls  on  the  other  side  of  the  street  were 
respecting  my  wishes.  I  relent  and  tell  Aubrey  to  ask 
them  over,  anyway.  They  are  all  quite  nice,  simple  trades- 
men, clerks,  etc. 

Aubrey  has  a  saloon,  or  at  least  a  hotel,  as  he  calls  it, 
in  the  vicinity  of  Bayswater,  and  later  in  the  evening  I 
suggest  that  we  go  there  and  take  his  friends  with  us. 
Aubrey  is  shocked. 

"No,  not  around  to  my  place."  Then  they  all  demur. 
They  don't  wish  to  intrude.  I  like  this.  Then  I  insist. 
They  weaken.   He  weakens. 

We  go  to  a  pub  in  a  very  respectable  part  of  Bayswater 
and  enter  the  bar.  The  place  is  doing  a  flourishing  busi- 
ness.   There  are  a  number  of  pictures  of  my  brother 

33 


1  WOUVWOOO  CAUfOHMIA 

Kp) 


"Syd"  and  myself  all  over  the  walls,  in  character  and 
straight.  The  place  is  packed  tonight.  It  must  be  a  very 
popular  resort. 

"What  will  you  have?"  I  feel  breezy.  "Give  the  whole 
saloon  a  drink."  Aubrey  whispers  :  "Don't  let  them  know 
you  are  here."    He  says  this  for  me. 

But  I  insist.  "Introduce  me  to  all  of  them."  I  must  get 
him  more  custom.  He  starts  quietly  whispering  to  some 
of  his  very  personal  friends:  "This  is  my  cousin.  Don't 
say  a  word." 

I  speak  up  rather  loudly.  "Give  them  all  a  drink."  I 
feel  a  bit  vulgar  tonight. '  I  want  to  spend  money  like  a 
drunken  sailor.  Even  the  customers  are  shocked.  They 
hardly  believe  that  it's  Charlie  Chaplin,  who  always  avoids 
publicity,  acting  in  this  vulgar  way. 

To  the  house  for  dinner,  after  which  some  one  brings 
forth  an  old  family  album.  It  is  just  like  all  other  family 
albums. 

"This  is  your  great-grandunclc  and  that  is  your  great- 
grandmother.       This  is 
Aunt  Lucy.   This  one  was 
a  French  general." 

Aubrey  says :  "You 
know  we  have  quite  a  good 
family  on  your  father's 
side."  There  are  pictures 
of  uncles  who  are  very 
prosperous  cattle  ra'nchers 
in  South  Africa.  Wonder 
why  I  don't  hear  from  my 
prosperous  relations. 

Aubrey  has  children,  a 
boy  of  12,  whom  I  have 
never  met  before.  A  fine 
boy.  I  suggest  educating 
him.  We  talk  of  it  at 
length  and  with  stress. 
"Let's  keep  up  family  tra- 
^itio".  He  may  be  a  mem- 
ber of  Parliament  or  per- 
haps president.  He's  a 
brieht  boy." 

We  dig  up  all  the  fam- 
ily and  discuss  them.  The 
uncles  in  Spain,  why,  we 
Chaplins  have  populated 
the  earth. 

When  I  came  I  told  Au- 
brey that  I  could  stay  only 
two  hours,  but  it  is  4  a.  m., 
and  we  are  still  talking.  As 
we  leave,  Aubrey  walks  with 
me  toward  the  Ritz. 


w 


E  hail  a  Ford  truck  on 
the  way  and  a  rather  dandi- 
fied young  Johnny,  a  former 
officer,  gives  us  a  lift. 

"Right  you  are.  Jump  on." 
A  new  element,  these  dandies 
driving  trucks.  Some  of  them  graduates  of  Cambridge 
and  Oxford,  of  good  families,  most  of  them,  impecunious 
aristocrats.  Perhaps  it  is  the  best  thing  that  could  happen 
to  such  families. 

This  chap  is  very  quiet  and  gentle.  He  talks  mostly  of 
his  truck  and  his  marketing,  which  he  thinks  is  quite  a 
game.  He  has  been  in  the  grocery  business  since  the  war 
and  has  never  made  so  much  money.  We  get  consider- 
able of  his  story  as  we  jolt  along  in  the  truck. 

He  is  providing  groceries  for  all  his  friends  in  Bays- 
water,  and  every  morning  at  4  o'clock  he  is  on  his  way 

34 


to  the  market.    He  loves  the  truck.    It  is  so  simple  to 
drive. 

"HALF  a  mo."  He  stops  talking  and  pulls  up  for  gas 
at  a  pretty  little  white-tiled  gas  station.  The  station  is 
all  lit  up,  though  it  is  but  5  a.  m. 

"Good  morning.    Give  me  about  five  gal." 

"Right-o !" 

The  lad  recognizes  me.  And  greets  me  frankly,  though 
formally.  It  seems  so  strange  to  me  to  hear  this  truck 
driver  go  along  conversing  in  the  easiest  possible  manner. 

He  spoke  of  films  for  just  a  bit  and  then  discreetly 
stopped,  thinking  perhaps  that  I  might  not  like  to  talk 
about  them.  And,  besides,  he  liked  to  talk  about  his 
truck. 

He  told  us  how  wonderful  it  was  to  drive  along  in  the 
early  morning  with  only  the  company  of  dawn  and  the 
stars.  He  loved  the  silent  streets,  sleeping  London.  He 
was  enterprising,  full  of  hopes  and  ambitions.  Told  how- 
he  bartered.    He  knew  how.    His  was  a  lovely  business. 

He  was  smoking  a  pipe 
^^^^^^^^^^  and  wore  a  Trilby  hat,  with 

a  sort  of  frock  coat,  and 
his  neck  was  wrapped  in  a 
scarf.  I  figured  him  to  be 
about  30  years  of  age. 

I  NUDGED  my  cousin. 
Would  he  accept  anything  ? 
We  hardly  know  whether 
or  not  to  offer  it,  though 
he  is  going  out  of  his  way 
to  drive  me  to  the  Ritz. 

He  has  insisted  that  it  is 
no  trouble,  that  he  can  cut 
through  to  Covent  Garden. 
No  trouble.  I  tell  the  gas 
man  to  fill  it  up  and  I  in- 
sist on  paying  for  the  gas. 

We  cut  through  to  Pic- 
cadilly and  pull  up  at  tb? 
Ritz    in    a    Ford  truck. 
Quite  an  arrival. 
~  The  lad  bids  us  good-by. 
"Delighted   to   have  met 
you.     Hope  you  have  a 
bully  time.    Too  bad  you 
are  leaving.    Bon  voyage. 
Come   back   in   the  spring. 
London    is    charming  then. 
Well,  I  must  be  off.   I'm  late. 
Good  morning." 

We  talk  him  over  on  the 
steps  as  he  drives  away.  He 
is  the  type  of  an  aristocrat 
that  must  live.  He  is  made 
of  the  stuff  that  marks  the 
true  aristocrat.  He  is  an  in- 
spiration. He  talked  just 
enough,  never  too  much.  The 
intonation  of  his  voice  and  his 
sense  of  beauty  as  he  appreciated  the  dawn  stamped  him 
as  of  the  elite— the  real  elite,  not  the  blue-book  variety. 

LoVING  adventure,  virtuous,  doing  something  all  the 
time,  and  loving  the  doing.  W7hat  an  example  he  is !  He 
has  two  stores.  This  is  his  first  truck.  He  loves  it  He 
is  the  first  of  his  kind  that  I  have  met:  This  is  my  last 
night  in  England.  I  am  glad  that  it  brought  me  this  con- 
tact with  real  nobility. 

(The  concluding  installment  will  appear  in  the  Decem- 
ber issue  Of  SCREENLAND.) 


C?  Fraternizing  With  other  celebrities  was  Charlie's  greatest 
delight  while  abroad.  It  wtu  while  dining  a t  a  cafe  in 
the  Latin  Quarter  of  Paris  that  Georges  Carpenticr 
scrawled,  this  fantastic  autograph,  to  represent  a  fist 
encased  in  a  boxing  glove.  Above.  Georges  Carpenticr, 
Cami,  the  French  cartoonist  and  Chariot  Chaplin,  s 


•I  The  PICTURE  of  the  Month 


*fl  HIS  page  is  for  the  great 
American  non-playgoer ;  for 
the  man  and  the  woman  who, 
after  seeing  a  few  unfortu- 
nately selected  movies,  have 
relegated  all  of  them  to  a 
limbo  below  the  level  of  their 
tastes. 


Oliver 


—Associated  Yirst  National 


M 

OVIE  fans  with  tastes  jaded  by  the  rich  spice  of 
trip-hammer  drama  and  pictorial  novelty  may  not  enthuse 
at  the  tranquil  flow  of  the  master-novelist's  mirrored 
story.  But  the  great  American  non-playgoer,  who  spends 
most  of  his  evenings  under  the  library  lamp,  will  not  regret 
the  sacrifice  of  one  of  them  by  visiting  a  picture  theatre. 
Oliver  Twist  is  one  of  the  few  screen  offerings  without 
the  prevailing  movie  "twist." 

That  musty  atmosphere  of  wood-cut  illustrations  and 
of  mildewed  volumes  so  dear  to  Dickens'  lovers  is  recorded 
faithfully.  But  in  reincarnating  the  story  there  comes  a 
Jackie  Coogan  in  a  juvenile  costume  of  that  period  when 
youths  addressed  their  elders  as  "sir."  And  it  is  as  dis- 
appointing to  Coogan  lovers  as  conscientious  treatment 


of  the  story  is  pleasing  to  Dickens'  lovers.  It  removes  the 
genius  of  this  child-actor  from  his  charming  babyhood. 

Almost  every  boy  or  girl  eight  years  old  can  tell  you 
that  Jackie  is  a  screen  comedian.  Thus  it  is  surprising 
that  he  has  been  deprived  of  chance  to  exert  his  greatest 
appeal  by  the  variety  of  screenable  humor  in  Oliver  Twist. 
A  "touched-up"  screen  version  would  have  mutilated 
Dickens  but  it  would  have  improved  Coogan. 

For  it  is  in  his  merrier  moods  that  Jackie  attracts  chil- 
dren. And  the  children  are  entitled  to  a  measure  of  con- 
sideration. Sex  drama,  spectacles  and  sophisticated  farce 
is  beyond  them.  Jackie  is  rightfully  theirs  and  the 
younger  ones,  to  whom  sub-titles  are  but  annoying  in- 
terruptions, want  that  tattered,  mischievous  waif  in  a 
ragged  cap  to  play  to  them  as  well  as  to  the  grown-ups. 

35 


'  HOLLYWOOD  CALIFORNIA 


Little  HINTS 

for 


LAYQOERS 


THE  MYSTERIES  OF  INDIA 
— Paramount. 

GERMAN  importation  -but  this  need  not  cause  our 
American  producers  any  anxiety.  You  will  be  asleep  before 
yon  find  out  what  all  the  mystery  is  about.  However,  there 
is  some  good  acting  to  recommend  it.  The  cast  includes 
Mia  May. 


THE  MASQUERADER— First  National 
<J  IiV  most  studios,  the  scenario  editor  keeps  a  mallet  hang- 
ing within  reach  for  writers  who  bring  in  stories  based 
on  the  coincidence  of  two  persons  looking  alike.  But 
Guy  Bates  Post  has,  in  his  first  screen  offering,  given 
us  this  bromidic  situation.  But  The  Masquerader  is 
so  well  handled  by  Director  Richard  Walton  Tully,  its 
author,  that  it  surpasses  any  ordinary  photoplay  of 
similar  plot. 

An  unusually  well-chosen  cast  supports  Post,  includ- 
ing Ruth  Sinclair,  Edward  M.  Kimball,  Mania  Manon, 
Barbara  Tennant  and  Herbert  Standing. 


THE  COUNTRY 
FLAPPER— Gish 

HE  only  excuse  for  this 
picture  is  that  it  admits  its 
lack  of  plot,  otherzvisc,  not 
even  the  pantomime  of  Doro- 
thy Gish  could  save  it  from 
being  stupid.  The  titles  are 
the  only  bright  spots,  but  they 
wane  very  soon.  Glenn  Hunter 
is  the  flipper  and  ideal  porch 
petter.  If  you  don't  mind 
being  grownup,  this  baby  food 
might  appeal  to  you. 


HEART'S  HAVEN— Federal 

q  Benjamin  b,  Hamp- 
ton calls  on  the  old  hope- 
and-faith  chest,  producing 
another  imitation  Miracle- 
Play.  Only  in  this  instance 
they've  changed  the  sex  and 
cut  the  garments  to  fit 
Mother  instead  of  the  grand 
old  man  of  the  first  and  only 
good  miracle  play  we  ever 
saw.  If  only  every  mother- 
in-law  in  real  life  could 
work  the  wonders  this  one 
does!  A  rehash  of  old  hokum, 
but  presented  with  a  certain 
artistry  of  touch  that  char- 
acterises Mr.  Hampton's 
productions  zvhen  he's  in  this 
philosophic  mood.  Claire 
Adams  and  Carl  Gantvoort 
are  pretty  puppets,  but  Claire 
McDowell  as  Mother  the 
Miracle  Lady,  steals  the  pic- 
ture. Her  work  has  dignity 
and  sincerity  that  give  struc- 
ture to  the  whole  fabrication. 


HOCLVWOOO  CALIFORNIA 


(Right)  ,  . 

MARRIED  PEOPLE— Hodktiisoti 

q  NELL  MARIE  DACE,  a  stenographer,  was  awarded 
$10,000  bv  a  Chicago  newspaper  for  her  scenario  of  Mar- 
ried People,  starring  Mabel  Ballin,  the  girl  with  the  Benda 
eves.  Whether  the  story  tvas  worth  that  much  money  is 
something  the  individual  will  have  to  judge  for  himself. 
We  arc  of  the  opinion  it  was  not.  Married  People  consists 
of  regular  movie  hash  without  garnishings.  It  is  conven- 
tional, lacks  suspense  and  dramatic  interest,  and  adds 
nothing  reallv  new  to  filmdom.  An  exceptionally  well- 
chosen  cast  supports  Miss  Ballin,  whose  acting  is  not 
sincere  enough  and  becomes  mediocre  in  the  few  dramatic 
scenes  the  play  affords.  The  photography  is  very  satisfy- 
ing, the  sets  'artistic.  Hugo  Ballin  directed  the  picture, 
'which  is  the  best  thing  to  be  said  for  it. 


(Bclozv) 

_  THE  SIREN  CALL— Paramount 
q  F ANS  accustomed  to  associate  stories  of  the 
Northwest  with  buckets  of  blood,  half-breed 
villains  and  fluffy  dogs,  will  find  Dorothy  Dal- 
ton's  latest  vehicle  running  almost  true  to  form. 
The  first  two  reels  rival  a  hot-water  bag  as  a 
sleep  producer.  Action  then  speeds  up  some. 
Dorothy  Dalton  makes  the  best  of  her  role  and 
is  supported  by  David  Powell,  Edward  J. 
Brady  and  Michell  Lewis.  A  Northern  picture 
that  may  appeal  to  Southerners. 


THE  DUST  FLOWER— Goldwyn 
q  A.NOTHER  romantic  little  Cinderella  fairy- 
tale. My,  how  many  clothes  that  popular  child 
has-'  Basil  King  togs  her  out  in  new  garments, 
with  a  fairy  godfather  in  the  person  of  that 
consummate  actor,  Claude  Gillingwater,  but 
his  story  is  the  same  old  hokum,  nevertheless. 
Helene  Chadwick  is  quite  adorable  and  almost 
makes  you  believe  it's  so. 


(Left)  HURRICANE'S  GAL 

— First  National 

q  DOROTHY  PHILLIPS  returns  to  the  screen  on 
the  bounding  waves  of  a  smashing  good  melodrama. 
No  pink  tea  fight  is  this  hurricane  of  a  tempestuous 
miss  and  her  contraband-ship,  spectacular  fires  at  sea 
and  falling  aeroplanes.  With  the  aid  of  the  U.  S. 
Navy  and  wireless  stations,  Allen  Holubar  puts  over 
an  old  talc  in  modern  guise,  with  a  thrill-a-minute 
schedule.  The  splendid  characterization  of  Dorothy 
Phillips,  zvho  inherits  a  contraband-ship  and  a 
predilection  for  guns,  and  the  presence,  of  ihe 
schooners  and  real  naval  officers  in  the  sea-fights 

/   give  the  melodrama  much  of  its  appeal.   Of  one  thing 

'    be  sure — there's  no  fake  about  it. 

37 


THE  RIDDLE  OF  THE  RANGE— Pathe 

^  F ROM  the  Western  range  to  underground 
Hindu  temples,  Ruth  Roland  dashes  and 
fights  her  zvay  to  success  in  her  latest  serial. 
It's,  full  of  rights  and  thrills  and  serialesque 
action.  It  zvouldn't  be  a  bad  idea  for  some  of 
our  beautiful-but-dumb  stars  to  i?7ibibe  a  bit 
of  Ruth's  animation.  She  performs  feats  of 
real  athletic  skill,  makes  her  face  behave  and 
chases  a  good  deal  of  melodrama  out  of  its 
lair.  What  more  could  the  kids  zvant? 


TREAT  'EM  ROUGH— Metro 

rose-petal  life  is  Viola  Dana's  when  she 
goes  out  and  buys  herself  a  guaranteed-not- 
to-run  husband  for  one  hundred  dollars.  But 
yo.u  can't  expect  a  nice,  gentle  hubby,  zvith 
the  premium  of  a  good  time  thrown  in,  for 
that  price,  and  Viola  finds  she  has  bought 
more  than  she  bargained  for.  But  hubby  re- 
fuses to  be  sold  again  second-hand,  and  tints 
complications  enter  the  transaction.  Not  a 
bad  little  farce.  Of  course  you  know  all  along 
it's  only  fooling  and  that  William  Lawrence 
will  emerge  from  his  beard  and  take  orders 
like  all  good  husbands. 


REMEMBRANCE— Goldzvyn 


UPERT  HUGHES'  father-play 
is  like  a  breath  of  fresh  ozone  after 
the  scandal  parade  and  misunder- 
stood wives  that  have  been  march- 
ing across  the  screen  lately.  Here 
he  does  for  Pop  what  he  did  for 
Mom  in  "The  Old  Nest,"  but  with 
less  lachrymose  effects.  A  good 
story,  zcell-told  and  without  too 
much  mawkish  sentimentality.  But 
with  Claude  Gillingzvatcr  as  Pop, 
how  could  Patsy  Ruth  Miller  and 
the  remainder  of  the  cast  help  but 
shine  at  their  best?  He  is  one  stage 
actor  zvhom  zve  hope  the  screen 
zvill  keep. 


THE  GHOST  BREAKER 
— Paramount 

HERE  is  neither  come- 
dy, drama  nor  good,  red 
melo  in  this  unfortunate 
picture.  Wallie  Reid,  with 
sang  froid  and  puckered 
lips, does  his  best  to  sustain 
a  thread  of  interest  in  a  de- 
liriously scattered  yarn. 
This  is  a  sort  of  movie  that 
makes  harness  menders  and 
second  maids  think  that 
they  can  become  scenario 
writers. 


38 


1  HOLLYWOOD  CMJfOKNIA 

K5) 


THE  OLD  HOMESTEAD— Paramount 

^  THE  profusion  of  heart-touching  human 
interest,  lavished  by  a  fine  cast  of  players, 
brings  this  old-time  "meld"  little  short 
of  a  screen  masterpiece.  Every  character 
binds  the  interest,  but  above  them  aU 
rises  Theodore  Roberts  as  "Uncle  Josh" 
in  one  of  the  keenest  parts  the  forty-year 
veteran  has  ever  played  on  the  screen. 
The  life  of  the  early  eighties  finds  little 
sympathy  from  today's  generation,  zohich 
will  fill  most  of  the  theatre  scats,  so 
again,  as  in  Way  Down  East,  we  see  the 
hint  of  mockery  in  semi-burlesque.  So  go 
not  to  revere  and  admire  but  to  chuckle. 


THE  VEILED  WOMAN— 
Renco-Hodgkinsou 

q  Beneath  the \midbox- 

officc  title,  Myrtle  Reed's 
novel,  Spinners  in  the 
Sun,  is  presented  with  a 
wealth  of  pathos  which 
somehow  grips  you,  in 
spite  of  the  spectral  veiled 
lady  weirdly  present.  It 
isn't  a  pink  silk  and  tissue 
lace  picture — it  is  murky, 
and  the  processional  of 
the  veiled  woman  has  at 
times  a  grotesque  effect. 
Nevertheless,  it  is  well 
done  on  the  whole  and 
marks  Marguerite  Show's 
return  to  the  screen'. 
Whether  she  acts  well  or 
not  we  can't  say,  for  she 
doesn't  shed  her  veil  un- 
til the  last  scenes.  Which 
makes  it  an  easy  job  for 
Marguerite.  (And  here's 
a  suggestion  for  other 
producers — why  not  put 
more  of  their  actresses 
behind  the  veil?) 


BURNING  SANDS— Paramount 

A  Discriminating  playgoers  win  be  dis- 
appointed in  this  tin-panny,  Sheik-flavored 
offering.  It  possesses  picturesque  scenes  of 
white-robed  Arabs  performing  assorted  in- 
iquity and  gives  Milton  Sills  and  Wanda 
Hawley  unconvincing  roles.  A  striking  in- 
stance of  a  .  supporting  player  "stealing  the 
picture"  occurs  in  the  conspicuously  excellent 
performance  of  Jacqueline  Logan  as  Lizette, 
a  girl  of  Cairo's  night  life.  A  feiu  dollars 
more  worth  of  story-building  would  have 
made  of  this  an  attractive  entertainment — 
even  though  it  is  an  encore  to  The  Sheik. 


WHEN  SUMMER  COMES— 
Scnnctt-First  National 

«5  W/^H  Billy  Bevan,  Mildred 
June  and  an  elongated  Ford 
Mack  Sennett  shakes  up  an- 
other comedy  cocktail.  Of 
course,  it  hasn't  any  sense,  but 
who  wants  sense  in  a  comedy? 
We  recommend  this  for  bad 
cases  of  pessimistis. 


39 


HOLLYWOOD  CALIFORNIA 


*f Movie  Cartoons 
of  the  month 


STUNTS  THAT  ARE  MISSING  IN 
THE  OHIO  MOVIES 

Bushnell  in  the  Marion  Tribune. 


A  SUPER-SPECIAL 

Movie  Magnate — In  your  next  production  I  want  you  to  create 
an  air  of  great  luxury. 

Director — AH  right,  I'll  have  the  star  pick  an  orchid  to  pieces 
while  she  says,  "He  loves  me;  he  loves  me  not." 

Peters  in  Life. 


40 


OUT  OUR  WAY 
Old  absent-minded  Doc  Teeters  nearly  disgraced 
the  ivhole  family  when  the  movie  villain  invited  every- 
body up  to  the  bar  for  a  drink. 

Williams  in  Helena  (Montana)  Independent. 


<f  Has  the  marriage 
license  become  to 
the  stars  a  mere 
90-day  guarantee 
of  affection? 


•J  Where  all  men  arc 
Adonises  and  all 
women  sir  e  nic 
beauties,  is  it  any 
wonder  that  they 
are  ravished  with 
eachother'scbarms? 


•B  "As  with  our  amazing  orange  groves,  it  is  beautiful  to  see  a  tree  bearing  both 
fruit  and  flower  at  the  self-same  time — the  flower  preparing  for  the  next  season's 
crop  while  the  fruit  consummates  that  of  the  previous  season!" 


amage  m 


the  Movies 


o 


By  Alma  Whitaker 

Illustration  by   Sutton  Wood 


^  F  COURSE,  it  is  entirely  proper  that  Mr.  Will 
Hays  and  the  producers'  association  should  strive  to  con- 
vince us  that  ninety-nine  per  cent  of  the  film  folk  are 
steeped  in  domesticated  proprieties  and  have  no  eyes  for 
other  than  their  own  fond  spouses ;  that  they  are,  in  fact, 
just  like  the  rest  of  us:  tenderly  content  with  such  meas- 
ure of  romance  as  it  has  pleased  a  wise  Providence  to 
concede  us,  and  blissfully  loving  the  silken  shackles  of  per- 
petual double  harness— one  life,  one  love  through  all 
eternity. 

But  after  all,  it  is  the  ardent,  tempestuous,  tempera- 
mental, passionately  romantic  one  per  cent  that  keeps  the 
public  in  a  pleasant  state  of  shocked  vicarious  palpitation. 
It  is  a  pretty  slow  week  for  the  news-reading  public  that 
doesn't  see  at  least  one  bright  particular  star  in  the  legal 


throes  of  love  agony,  writhing  in  the  sweet  tortures  of 
officially  burying  one  grande  passion  while  actually  in  the 
birth  pangs  of  a  new.  It  would  affront  our  nicer  tradi- 
tions of  propriety  not  to  register  at  least  a  soupcon  of 
shocked  concern  or  contribute  at  least  a  caustically  cynical 
reflection  of  disapproval— but  actually,  deep  in  our  warm, 
indecent  hearts,  our  sympathy  is  theirs! 

VaRIETY  is  the  spice  of  life,  anyway.  Besides,  how 
absurd  to  expect  these  ardent  romanticists  to  stay  put. 
Where  all  are  so  utterly  fascinating,  so  unutterably  replete 
in  all  the  charms,  where  the  men  are  all  Adonises  and  the 
women  all  sirenic  beauties,  I  ask  you  is  it  any  wonder 
that  they  are  ravished  with  each  others'  charms,  that  each 

41 


HOU.VWOOO  CALIFORNIA 


new,  beauteous  human  appearing  within  their  aura  seems 
more  utterly  desirable  than  the  last?  On  the  whole,  when 
we  appreciate  the  peculiarly  provocative  circumstances 
under  which  these  superlatively  attractive  persons  meet 
each  other,  the  wonder  is  that  they  can  ever  concentrate  on 
one  love  long  enough  to  get  a  divorce  and  remarry. 
In  fact,  it  is  comparatively  easy  for  us  to  understand  their 
plethora  of  new  loves.  Our  only  trouble  is  to  discover 
how  they  ever  could  have  discarded  the  old. 

For  instance,  we  can  quite  appreciate  how  Mary  could 
love  Douglas  as  well  as  Owen,  and  it  seemed  so  hard  to 
have  to  believe  all  those  unpleasant  things  about  Owen 
in  order  that  Mary  might  shed  him  for  Douglas,  or  all 
those  unpleasant  things  about  Douglas  that  his  former 
wife  might  release  him  in  favor  of  Mary.  Especially 
after  we  had  sighed  soulfully  over  lovely  stills  of  Doug 
and  the  first  Mrs.  Doug  with  dear,  little  Doug  junior,  and 
over  equally  engaging  stills  of  Mary  and  Owen  in  their 
home  garden.  It  troubles  us  to  think  that  the  first  Mrs. 
Doug  had  ceased  to  appreciate  Doug's  charms,  just  because 
Mary  had  begun  to  appreciate  them  too.  Or  that  Owen 
should  have  ceased  to  adore  Mary  just  because  Mary 
adored  Doug,  or  even  that  Mary  should  have  ceased  to 
appreciate  the  established  charms  of  Owen  when  Doug 
appeared  within  her  orbit.  Our  sympathies  are  called  upon 
to  be  so  violently  partisan  so  very  temporarily  and  it's  very 
confusing. 

It  CAN  be  seen  that  the  whole  secret  of  successful  pas- 
sionate romanticism  is  in  at  least  temporary  but  exceed- 
ing fervent  concentration.  One  mustn't  leave  a  shred  of 
it  hanging  over  on  to  the  previous  great  and  eternal  love. 
All  or  nothing  while  it  lasts,  you  understand. 

But  it  is  a  great  factor  in  the  development  of  Art.  You 
may  have  observed  that  both  Doug  and  Charlie  rose  to 
higher  flights  of  superfection  in  their  Art  directly  they 
had  succumbed  to  the  lures  of  a  grand  passion.  Not  until 
Charlie.  Chaplin's  blisteringlv  swift-burning  affair  with 
Mildred  Harris  was  he  proclaimed  the  greatest  dramatic 
actor  in  our  time.  No.  sirs.  Before  that  he  was  just  a 
slapstick  comedian.  His  loves  up  to  that  time  had  been 
too  discreetly  mild.  But  with  the  advent  of  Mildred,  sup- 
planting what  we  had  fondly  hoped  was  a  budding  romance 
with  Edna,  he  just  leapt  into  fame.  And  by  the  time  the 
Mildred  passion  was  dead  and  expensively  buried,  and 
hectic  rumors  anent  Mays  and  Claires  started  booming, 
even  the  highest-browed  world  critics  were  prepared  to 
proclaim  Charlie  the  superlative  leader  of  his  profession. 

Mildred  herself  had  sighed  in  the  more  modest  ranks  of 
her  Art  until  the  passionate  Charlie  incident.  After  that, 
with  her  love  dying  in  splendid  pain,  she  was  heralded  as 
an  honest-to-goodness  actress. 

That  is  probably  the  whole  secret.  Art  demands  that  it 
be  won  by  passionate  heart-suffering.  And  there  can  be 
no  great  and  noble  suffering  where  there  has  been  no 
passionately  furious  love.  It  has  been  much  the  same  with 
all  geniuses  through  history.  They  just  had  to  love  ar- 
dently and  have  their  hearts  utterly  crushed  and  mangled 
half  a  dozen  times  before  the  real  merit  of  their  genius 
captured  the  world. 

TTaKE  Pauline  Frederick.  Do  you  suppose  she  could 
have  achieved  the  standing  in  the  profession  that  has  been 
hers  if  she  had  remained  an  unkissed  virgin  woman?  One 
marriage,  one  passion  and  one  disastrous  heart-break  set 
her  feet  upon  the  road.  The  second  sent  her  salary  whiz- 
zing up  to  dizzy  heights.  Oh,  Willard  Mack  can  take 
some  credit  to  himself  for  that.  And  now,  with  a  nice 
new  medical  husband,  one  of  two  alternatives  confront 
her.    Either  she  will  retire  into  sweet  perpetual  domes- 


ticity with  her  doctor-husband  No.  3,  settling  down  to 
hearth  and  home  and  suburban  righteousness,  or,  by  break- 
ing her  heart  just  once  more,  she  may  rise  to  heights  un- 
dreamed of  as  an  emotional  dramatic  actress  of  real  class. 
We  have  seen  for  ourselves  that  the  secure,  mildly  happy 
marital  suburban  home  stuff  affords  postively  no  urge  for 
greater  and  vaster  development  of  genius. 

Jack  Pickford  is  getting  along  pretty  well  with  his 
sumptuous  romantic  love  experiences.  Without  them  I 
fear  he  would  merely  have  remained  Mary's  brother.  But 
that  family  knows  the  value  of  heart-throbs  and  heart- 
breaks— even  Lottie  has  done  her  bit  towards  maintaining 
the  loftily  emotional  family  traditions. 

Of  course,  when  we  come  to  Gloria  Swanson,  we  have 
another  glittering  example.  Even  Gloria's  mamma  cour- 
ageously contributed  to  the  family  romance.  Gloria  her- 
self grows  professionally  more  distinguished  with  every 
heart  pang.  She,  too,  married  for  passionate  love,  accept- 
ing the  private  name  of  Mrs.  Sanborn  with  sweet  sacrificial 
docility  in  the  great  cause  of  romance.  And  she  "experi- 
enced maternity"  to  round  it  out  with  that  completeness 
which  the  novelists  and  sentimentalists  assure  us  con- 
secrates the  union.  But  an  inexorable  Fate,  for  the  sake 
of  her  Art,  snatched  this  pangful  passionate  marital  love 
from  her  that  greater  genius  might  be  born  in  suffering. 
But  she  is  not  going  to  be  allowed  to  wilt  in  her  bereaved 
sorrow.  Instinctively  we  feel  another  grandc  passion 
looming  on  the  horizon  for  Gloria,  directly  the  gentleman 
can  shed  his  own  former  grand  passion.  In  the  meantime, 
Mr.  Sanborn  has  been  doing  what  he  can  to  bring  solace 
to  Peggy  Hopkins  Joyce — that  young  lady  whose  various 
millionairy  heart-pangs  and  ruthless  romantic  debacles  are 
rapidly  fitting  her  for  great  emotional  roles — ahem!  So 
you  see  nobody's  love  is  allowed  to  go  to  waste — it  is 
merely  a  case  of  fertile  transplanting — the  separating  and 
cutting-back  processes  that  make  for  the  greater  glory  of 
the  well-cared-for  garden. 

BlANCHE  SWEET  and  Marshall  Neilan  (although  his 
bungalow  is  too  small  to  hold  them  both)  are  still  insist- 
ing upon  the  vitality  of  their  romance.  But  one  does  feel 
that  the  gardener  is  at  work,  pruning,  cutting  out  the  dead 
wood — and  preparing  for  a  little  repotting.  And,  as  with 
our  amazing  orange  groves,  it  is  beautiful  to  see  a  tree 
bearing  both  fruit  and  flower  at  the  self-same  time— the 
flower  preparing  for  the  next  year's  crop,  while  the  fruit 
consummates  that  of  the  previous  season. 

So  far,  Bebe  Daniels  has  not  been  officially  and  maritally 
proclaimed  amongst  the  ranks  of  the  great  romanticists. 
But  as  her  fame  grows  we  feel  the  great  romantic  in- 
fluences at  work.  Whether  Peggy  took  Jack  Dempsey 
away  from  Bebe  or  Bebe  took  Jack  away  from  Peggy  is 
somewhat  confused  in  our  minds — but  anyway  it  seems 
evident  that  the  champion  pugilist  is  some  sort  of  an  in- 
strument of  romantic  Fate  for  the  greater  glory  of  these 
young  women's  professional  genius. 

The  Gish  girls  have  been  a  trifle  slow  in  culling  the 
expansive  inspiration  of  romance  and  its  heart-breaks. 
However,  Dorothy  took  a  header  not  so  very  long  ago 
which  may  yet  help  along  the  exquisitely  painful  path  of 
genius.  So  far,  there  is  marked  evidence  of  conservatism 
and  maternal  guidance. 

But  Constance  Talmadge  snatched  the  passionate  ro- 
mance and  the  exquisite  suffering  almost  in  one  mouthful. 
Why  should  her  millionaire  tobacconist  husband  begrudge 
her  this  tremendous  inspiration  in  her  Art?  He  should 
be  humbly  grateful  that  Fate  chose  him  as  the  worthy  in- 
strument. Connie,  you  will  observe,  is  already  benefiting 
by  the  hectic  emotional  heart-breaking  experience — we 
have  her  publicity  man's  word  for  it  that  her  Art  is  greater 
than  ever  before. 


42 


JlJST  what  the  Natalie-Buster  romance  will  bring  forth 
we  have  yet  to  learn — strictly  as  regards  Art,  of  course. 
But  the  stories  of  their  idealic  and  irreproachable  romance 
leaves  us  in  fear  that  Buster  Keaton  will  never  be  heralded 
as  the  world's  greatest  emotional  actor  like  Charlie  Chap- 
lin. He  doesn't  seem  to  be  getting  any  noble  suffering  in 
anywhere. 

And,  for  the  nonce.  Norma  Talmadge  is  content  to 
lavish  untold  love  on  Natalie's  baby.  That  is  quite  an  in- 
novation. After  all,  one  can  get  a  good  deal  of  very 
righteous  anguish  by  loving  a  baby,  without  the  sting.  Who 
knows  but  what  Norma  may  have  discovered  a  new  and 
less  conspicuous  form  of  emotional  inspiration  for  Art? 

Of  course,  David  Wark  Griffith  is  imbued  with  so  much 
masterly  discretion  that 
we  can't  be  sure  whether 
the  inspiration  and  genius 
which  have  made  him 
"the  greatest  film  direc- 
tor in  the  world"  (vide 
advertisement)  was  an 
Act  of  God,  or  followed 
the  romantically  emo- 
tional processes  so  neces- 
sary to  lesser  Art.  You 
see,  one  really  can't  be- 
lieve all  one  hears — so 
we  can't  positively  pro;re 
anything  by  him. 

But  we  have  seen  what 
romantic  heart  -  breaks 
have  done  for  James 
Young.  Clara  Kimball 
was  James'  second 
exquisitely  romantically 
painful  venture.  Then 
came  the  second  Clara  to 
be  offered  up  on  the  al- 
tar of  James'  emotional 
and  artistic  development. 
The  second  Clara  told 
mutual  friends  that 
James'  heart  still  be- 
longed to  the  first  Clara 
and  that  she  herself  had 
merely  been  a  hectic  re- 
actional  interlude.  Any- 
way, James'  heart  was 
broken  for  the  third  time 
— and  now  it  looks  as 
though  Director  Young's 
Art  has  reached  that 
state  where  just  one 
more  grand  passion, 
preferably  with  an  un- 
happy denouement,  will 
set  him  up  on  the  dizzy  heights. 

And  as  Miss  Virginia  Fair, 
so  fragile  and  lily-like,  is  still 
on  the  unsatisfactory  "only 
nearly"  rung  of  the  ladder  of 

fame,  it  may  be  that  some  tremendous  romance  will  sweep 
her  into  glory  pretty  soon. 

BlLL  HART  is  trying  to  do  the  thing  sentimentally, 
cautiously,  painlessly.  But  you  may  have  observed  that 
Bill  married  just  about  the  time  he  temporarily  ceased 
making  new  pictures.  His  Art  was  in  dire  need  of  a  fillip. 
While  things  went  along  in  domestic  bliss,  there  was  no 
noticeable  change.  But  now  that  the  aromatic  pain  and 
suffering  have  set  in,  behold  the  announcement  that  Bill 
will  resume  picture  making — and  burst  upon  us  with 


greater,  finer  glory.  But  if  Bill  has  really  "suffered,"  if 
for  a  violent  emotional  spell  he  endured  all  the  pangful 
agonies  of  "love  and  the  world  well  lost,"  if  he  has  experi- 
enced the  violent  "cutting  back,  pruning,  bulb  separating" 
that  ruthless  gardeners  practice  for  the  greater  glory  of 
their  gardens, — well,  just  you  watch  Bill  grow.  The  separ- 
ating, in  fact,  seems  already  to  have  set  in. 

The  question  of  Wally  Reid  is  rather  delicate.  Wally 
looks  the  part.  He  even  acts  it  quite  naturally  at  times. 
Yet  under  the  particular  circumstances  of  his  attachment 
wc  can't  be  sure.  The  press  agents  depict  Wally  as  an 
adoring  husband  and  father.  Nothing  could  conform  more 
nicely  with  what  Will  Hays  desires  in  these  matters. 
After  all,  it  is  rather  nice  to  have  an  exceptional  star 

now  and  then  who  "con- 
forms." We  insist  that  it 
is  the  exception  that 
proves  our  rule,  how- 
ever. Most  stars  do 
need  continuous  emo- 
tional sublimities  and 
agonies  to  develop  their 
finer  genius. 

Look    at  Valentino. 
Watch  him  rise  in  the 
professional  firmament 
coincident  with  his  great 
emoti  onal  anguishes. 
Jean   Acker  broke  his 
heart  —  oh,  absolutely. 
Recalling  his  evidence  in 
the  sad  partitional  pro- 
ceedings, we  know  that 
he  loved  mightily,  gen- 
erously, magnificently. 
Jean  just  misunderstood 
him.  Then  just  when  his 
heart  was  healing,  his 
quivering  soul  readjust- 
ing itself  to  normal,  be- 
hold the  advent  of  No.  2. 
Once    again  emotional 
stress  set  in — and  V alen- 
tino  became  a  greater 
film-lover    than  ever. 
Then  that  dear  impatient 
dash   for  the  border — 
after  all,  a  year  is  a 
dickens  of  a  time  to  ask 
an  artist  to  wait  for  the 
emotional  nourishment 
his  great  soul  craves.  But 
again  an  inexorable  Fate 
held  Valentino's  Art 
above  his  personal  con- 
tent.  Vile  law  snatched 
the   charmer    from   his  very 
arms.   More  sumptuous  suffer- 
ing,  more  glorious  emotional 
anguish — and  more  and  greater 
Art   for  a  palpitating  public 
which  hangs  upon  his  every  screen  gesture. 

M  ABEL  NORMAND  has  not  been  exactly  immune. 
A  sizable  dose  of  unhappy  emotional  ecstasy  has  been  hers. 
If  this  experience  runs  true  to  form,  watch  Mabel  come 
back.  It  may  even  prove  as  inspiring  for  Mary  Miles 
Minter.  I  trust  I  have  made  it  clear  that  these  shining 
stars  are  plunged  into  these  passionately  inexorable  ro- 
mances, snatched,  saved,  and  plunged  ever  again  by  the 
ruthless  workings  of  Destiny  which  holds  their  Art  and 
its  essential  inspiration  above  mere  human  suffering. 

43 


<5  "The  question  of  Wallic  Reid  is  rather  delicate. 
Wally  looks  the  part.  He  even  acts  it  quite  natur- 
ally at  times.  The  press  agents  depict  him  as  an 
adoring  husband  and  father.  Nothing  could  con- 
form more  nicely  with  what  Will  Hays  desires  in 
the  matter." 


MOUVWOOD  CALIFORNIA 


Jn  newspaper  offices  they  call  this  habit  of  wallowing 
around  in  saccharine  sweetness  "slopping  over."  The 
movies  are  slopping  over  most  of  the  time.  They  are 
altogether  too  beautiful  and  too  sweet. 

Especially  the  movie  mothers.  Iri  real  life  what  makes 
mothers  interesting  and  advisable  is  that  they  are  human. 
When  they  bind  up  your  wounds  they  usually  scold  you. 
They  vary  self-sacrifice  with  spankings.  The  movie 
mother  is  an  insufferable  saint.  She  always  sits  in  a 
rocking  chair  with  her  knitting  and  just  smiles  and  smiles. 
After  seeing  one  of  Charley  Ray's  pictures  I  made  a  for- 
mal request  to  be  allowed  to  run  over  the  sweet  old  mother 
with  a  loaded  truck  after  he  finished  with  her.  She  irri- 
tated me  beyond  human  endurance  with  her  patient  smile. 

There  are  no  such  people  in  the  world — praise  be 
to  heaven!  I  can't  understand  why  directors  persist 
in  putting  these  silly  rubber  stamp,  painted-on-one-side 
characters  on  the  screen. 

No  mother  can  possibly  raise  a  healthy  normal  family 
through  the  measles  and  whooping  cough  and  wash 
dishes  three  times  a  day  for  twenty  years  without 
getting  her  dander  up  once  in  a  while.  I  never  knew 
but  one  woman  in  my  life  who  always  presented  such  a 
smiling  patient  face  and  went  through  life  with  the  un- 
varying sweetness  of  a  screen  mother.  She  was  a  crazy 
woman  who  thought  she  was  Mona  Lisa.  They  sent  her 
to  the  insane  asylum  and  she's  there  yet.  It  would  be  a 
good  thing  to  do  with  screen  mothers. 

Not  that  I  really  blame  the  mothers.  It  is  the 
directors.  To  me,  it  is  a  source  of  never-ending 
amazement  that  any  grown  men  could  go  through 
30  years  or  more  as  most  of  them  have  and  observe 


I  s  a  confession 
that  the  director  cannot 
you  ever  loved?  Then 
truth  in  this  discerning 

B y  Warr y 

Illustrated  by 


so  little  about  life — not  to  mention  the  art  of  acting. 

I  once  heard  D.  W.  Griffith  say  that  nearly  anybody 
can  act  except  an  actor.  To  this  I  might  add  that 
nearly  anybody  can  understand  acting  except  the 
average  director. 

Consider  the  big  crisis  in  almost  any  motion 
picture ! 

I  have  seen  a  lot  of  people  in  the  midst  of  real 
life  dramas.  I  have  seen  a  lot  of  women  informed 
of  sudden  and  horrible  tragedies.  I  have  never 
seen  a  single  one  act  the  way  they  always  act  in  the 
movies.  In  the  movies  they  close  their  eyes  and 
sway  around  like  the  pendulum  of  an  eight-day  clock 
apparently  with  the  idea  of  impressing  the  audience  that 
they  are  going  to  faint  and  are  trying  not  to. 

This  is  not  only  a  silly  departure  from  real  life 

but  bad  psychology. 

The  first  reaction  of  people  in  real  life  to  tragedy  is  in- 
credulity. They  can't  believe  it.  The  first  thought  that 
enters  their  minds  is  a  denial.  "No,"  they  say,  "This  can't 
be  true.  My  father  can't  be  killed.  These  things  happen 
to  other  people  but  they  don't  happen  to  me." 

At  such  times  they  stand  like  dummies.  I  have  seen 
several  men  told  that  they  had  but  a  few  moments  to  live. 
They  all  said  things  that  would  sound  silly  and  inconse- 
quential. I  remember  one  man  who  was  told  he  would  die 
in  a  few  minutes  as  the  result  of  burns.  He  didn't  stare 
wild-eyed.  He  just  stood  there,  dumb  and  silent  with  a 
foolish,  embarrassed  smile  on  his  face  as  though  he  had 
been  caught  in  some  disgraceful  and  foolish  predicament. 
All  he  said  was  a  queer,  choked  grunt. 

In  the  death  bed  scenes  on  the  screen,  the  dying 
person  in  his  last  moments  usually  manifests  enough 
strength  in  the  way  of  fist  shaking  or  embracing  to 
represent  half  a  day's  work  with  a  pick  and  shovel. 

One  of  the  truest  pieces  of  emotion  ever  shown 
on  the  screen  was  in  D.  W.  Griffith's  Intolerance 
where  Mae  Marsh  wadded  and  wadded  her  little 
flimsy  cambric  handkerchief  while  her  lover  was  be- 
ing sentenced  to  be  hanged.  I  saw  an  old  woman  do 
that  identical  thing  once  in  a  courtroom  while  her 
daughter  was  being  tried  for  conspiring  with  a 
bunch  of  crooks  to  rob  her  own  father. 

A  NOTHER  time,  I  saw  a  young  man  sentenced  to 
be  hanged.  He  had  his  hat  in  his  hand  and  he  kept 
turning  this  hat  around  and  around  with  the  most 
careful  attention  as  though  he  had  to  make  a  certain 
number  of  careful  revolutions  of  the  hat  band  within 
a  given  time.  Watching  him,  you  would  have  thought 
that  the  fact  he  was  hearing  the  judge  rule  his  life 
away  was  of  no  importance  at  all,  but  that  the  matter 
of  turning  his  hat  in  just  that  precise  and  certain 
manner  was  of  the  most  overwhelming  importance. 


44 


FOOT  AJSS 

of  weakness  —  it  is  a  sign  X 
tell  a   love  story.     Have  v^_, 
you  will  recognize  the 
admonition. 

Carr 

Everett    W  y  n  n 


The  point  I  am  trying  to  make  is  that,  in  moments 
of  high  tragedy,  people  do  not  do  big  things.  They 
couldn't  raise  their  hands  and  arms  with  the  usual 
movie  gesture  if  they  tried.  There  is  something 
smothering  about  tragedy.  Your  voice  is  choked 
and  your  actions  are  choked,  too.  You  do  strange 
and  usually  very  precise  little  things.  Just  so,  five-foot 
kisses,  slobbering  around,  are  not  indicative  of  love. 

The  good  people  in  screen  stories  always  wander 
through  the  scenes  with  a  peculiar,  slow  glide  as  though 
they  are  too  holy  to  actually  touch  the  ground,  but  slide 
around  on  etheral  foundations.  They  never  are  human. 

As  a  matter  of  solemn  tacit  agreement,  on  the 
part  of  directors,  all  the  historical  characters,  like 
G.  Washington,  Napoleon  and  Lincoln  always 
preserve  a  curious  sort  of  solemn  stateliness  that 
in  real  life  is  characteristic  of  morons.  As  a  matter 
of  fact,  Lincoln  was  given  to  making  jokes  and  often 
rather  off-color  ones.  Napoleon  had  a  mild  mania  for 
acting  in  amateur  theatricals  and  for  affairs  with  ladies, 
while  Washington  could  never  have  passed  the  censors. 

The  motion  pictures  show  life  in  a  kind  of  solemn 
ready-to-wear  form,  in  vague  meaningless  phrases. 

One  of  the  finest  feats  of  journalism  ever  printed  was 
Richard  Harding  Davis'  account  of  the  coronation  of  the 
Tsar  of  Russia.  While  other  eminent  writers  were  claw- 
ing the  covers  off  the  dictionaries  trying  to  find  ponderous 
words  to  describe  their  feelings,  Mr.  Davis  was  telling  in 
simple  language  how  the  baby  Grown  Prince  of  Siam  was 
sitting  on  the  floor  with  another  baby  Prince,  trying  to 
tear  each  other's  shiny  medals  off ;  and  how  the  Queen  of 
Greece  got  stage  fright  when  she  congratulated  the  newly 
crowned  pair  and  glared  at  them  like  Lady  Macbeth  trying 
to  outstare  the  ghost. 

It  is  just  such  little  touches  of  humanity  and  reality 
that  the  movies  miss  and  hence  fail  to  be  human  and 
interesting. 

V^HEN  Thackeray  was  writing  The  Virginians,  he 
asked  an  American  visitor  to  tell  him  about  George 
Washington.  The  visitor  opened  up  with  the  patriotic 
wheeze  about  the  illustrious  George.  "Oh,  I  don't  care 
for  that,"  said  Thackeray,  "I  want  to  know  if  he  was 
a  fussy  old  gentleman  who  spilled  snuff  on  his  vest." 

And  that's  what  we  want  to  know  when  we  go  to 
a  movie.  There  are  no  real  Pollyannas  and  no 
sainted  mothers.  There  are  little  girls  who  are  selfish 
and  thoughtless  most  of  the  time,  but  who  have  their 
occasional  moments;  there  are  mothers  who  get  red  in 
the  face  and  tired  and  get  cross  and  get  over  it  and 
are,  on  the  whole,  wonderful  institutions;  there  are  lip 
contacts  which  are  edifying  to  the  participants  but  usually 
disgusting  to  the  spectator  in  real  life.  Even  on  the  screen 
I  fail  to  see  anything  pleasing  in  faces  glued  together. 

One  of  the  wisest  and  shrewdest  little  girls  ever  on 


the  screen  is  Mary  Pickford.  You  will  notice  that 
she  never  allows  a  lover  to  be  seen  pawing  her  over  on 
the  screen.  All  her  kisses  are  by  inference. 

Mary  has  put  on  some  of  the  worst  snifflers  of  all 
the  screen  stories  that  have  afflicted  us.  Mary  must 
forever  stand  convicted  of  Pollyanna  and  Little  Lord 
Fauntleroy  who  was  an  insufferable  little  prig  and  snob; 
but  we  can  always  remember  through  the  weepy  mist  of 
her  glad  girl  stories  that  she  always  showed  good  taste 
in  kissing:  that's  something. 

And  so  now,  at  last,  we  are  getting  around  to  the  five- 
foot  kisses.  No  doubt  you  will  already  have  seen  the 
point  I  am  leading  up  to.  The  point  is,  that  a  five- foot  kiss 
is  a  confession  of  weakness  on  the  part  of  any  director. 

The  director  who  yanks  in  a  five-foot  kiss  is  like  an 
old  tenor  who  relies  upon  the  friendly  orchestra  to  make 
an  infernal  racket  when  he  gets  to  the  high  notes  he  can 
no  longer  reach  without  cracking.  The  five- foot  kiss  is 
a  sign  that  the  director  cannot  tell  a  love  story.  It  is 
a  sign  he  is  slipping  in  his  story  and  is  beginning  to 
gesture  wildly  and  frantically. 

ThAT  is  something  that  is  yet  to  be  done  on  the  screen 
— a  real  love  story.  Griffith  has  sent  numerous  young 
gentlemen,  with  glowing  eyes  and  flowing  ties,  wandering 
around  in  Byronic  gardens  of  love:  there  have  been  in- 
numerable little  googly  stories  about  little  immature 
flapper  girls  who  rewarded  their  little  beaux  with  a  smack 
on  the  lips  after  five  reels  of  tedium ;  but  there  never  has 
been  a  real  love  story  told  on  the  screen.  Lacking  the 
delicacy,  the  imagination  and  the  dramatic  force  to  tell 
a  real  love  story,  the  directors  erect  a  five-foot  kiss  like 
a  smoke  screen  and  try  to  make  you  believe  they  have 
told  you  a  love  story. 

45 


\ 


tar  in 


CIETY 


•J  Mrs.  Thos.  H.  Ince  {center)  entertains  on  a  yachting  party 
Catalina  aboard  the  Ince  yacht  Edris. 


to 


MRS.  THOMAS  H.  INCE,  assisted 
by   Miss   Madge   Bellamy,  Miss 


Aboard 
the  Edris. 

Marguerite  de  la  Motte  and  Miss  Flor- 
ence Vidor,  was  a  recent  hostess  at  a  delightful  affair 
given  in  honor  of  the  nine  "Dollar-a-week"  men  of  the 
First  National  Exhibitors  who  won  their  trip  to  Cali- 
fornia and  were  extensively  entertained. 

The  first  day  of  their  visit  the  party  were  guests  aboard 
the  Ince  yacht,  Edris,  sailing  over  to  Catalina  Island, 
where  a  beautifully  appointed  dinner  was  given  at  the  St. 
Catharine  Hotel.  Covers  were  arranged  for  twenty-five 
and  among  the  guests  were  King  Vidor,  David  Butler, 
John  Bowers  and  John  Ray  Griffith. 

Wed  at  world-wide  interest  was  the  recent 

Fairbanks  marriage  of  Miss  Marilynn  Miller 

JJome  and  Jack  Pickford  which  took  place  at 

the  palatial  Beverly  Hills  home  of  Doug- 
las Fairbanks  and  his  wife,  Mary  Pickford. 

The  bride,  best  known  as  the  winsome  darling  of  Sally, 
was  given  in  marriage  by  her  sister,  Mrs.  John  Steele 
Sweeney.  Mary  Pickford  was  matron  of  honor  and 
other  attendants  were  Mrs.  Carrie  Carter,  mother  of  the 
bride's  former  husband,  and  Mrs.  Allen  Forrest,  herself  a 
recent  bride  and  pictorially  known  as  Lottie  Pickford, 
sister  of  the  groom  and  of  Mary  Pickford.  A  diminutive 
member  of  the  bridal  party  was  little  Mary  Pickford 
Rupp,  daughter  of  Mrs.  Forrest.  Victor  Herman  at- 
tended the  groom  as  best  man. 

The  nuptial  service  was  read  by  the  Reverend  Neal 
Dodd,  pastor  of  Hollywood's  Little  Church  Around  the 
Corner,  in  the  large  drawing-room  in  the  west  wing  of  the 
Fairbanks  residence. 

Decorators  and  florists  had  converted  the  room  into  a 
garden  of  summer  blossoms.  There  were  masses  of  Cecile 
Brunner  roses  and  lilies  of  the  valley,  tall  American 
Beauties  and  snapdragons,  blue  larkspur  and  colorful 
dahlias  were  used  in  profusion.  A  wedding  bower  was 
formed  by  a  bell-shaped  canopy  of  ferns  arranged  in  the 
center  of  the  room  over  an  altar  decked  with  an  old  Aus- 
trian scarf  before  which  the  couple  knelt  on  a  rug  of  rare 
Venetian  pineapple  silk. 

A  string  quartette  played  before  the  ceremony,  and 
John  Steele,  a  Victor  artist  and  vaudeville  star,  sang  "Oh, 
Promise  Me." 

46 


By  Isabel  Yercivai 

The  Flay  of  the  Times  of  Play  People 


Of  exquisite  simplicity  was  the  imported  gown 
worn  by  the  bride.  White  Chantilly  lace  over  a 
slip  of  white  crepe  georgette  and  silver  was  fash- 
ioned into  a  tight  bodice  and  long,  full  skirt,  wired 
out  at  the  hips  and  falling  in  irregular  lengths, 
while  a  cape  collar  fell  below  the  waistline  at  the 
back  and  formed  a  surplice  in  front.  She  carried 
a  large  shower  bouquet  of  white  orchids  and  gardenias. 

Mrs.  Fairbanks,  who  entered  with  Mrs.  Carter,  was 
the  picture  of  ah  adorable  Dresden  doll  in  a  Paris 
frock  of  cream-colored  Chantilly  lace  through  the  shim- 
mering folds  of  which  could  be  seen  bow-knots  of  French 
blue  and  silver  ribbons  and  wreaths  of  handmade  flowers 
in  pastel  shades.  With  this  she  wore  a  fetching  lace  hat 
adorned  with  French  flowers,  and  her  hose  and  satin  slip- 
pers were  of  palest  green. 

Mrs.  Forrest  wore  a  Parisian  gown  of  Nile  green  taffeta 
with  a  hat  to  match. 

A  gown  of  beige-colored  net  and  lace  was  worn  by  Mrs. 
Sweeney,  while  Mrs.  Carter  was  distinctive  in  a  black 
gown  of  Spanish  lace  over  canton  crepe  and  trimmed  with 
moire.  Her  black  picture  hat  was  draped  with  folds  of 
tulle. 

Miss  Clare  Miller,  another  sister  of  the  bride,  was 
frocked  in  pink  crepe  georgette  enhanced  with  duchess 
lace  and  wore  a  large  lace  hat. 

Charles  Chaplin,  prominent  among  the  guests,  was  first 
to  kiss  the  bride.  The  other  guests  included  Mr.  and  Mrs. 
Robert  Fairbanks,  Mr.  and  Mrs.  John  Fairbanks  and  Mrs. 
Charlotte  Pickford,  mother  of  the  groom. 

During  the  ceremony  Lieutenant  C.  H.  Howe,  on  leave 
from  Carson  Field,  flew  over        (Continued  on  page  65) 


q  Jack  Pickford  and  his  bride,  Marilynn  Miller  Pickford, 
were  married  at  the  home  of  Doug  and  Mary. 

—Photo  by  Frank  B.  Howe 


/r*  HOLLYWOOD  CM.ifOR.NtA 


CieUCe  in  the 

MOVIES 


fHoic  they  do  the  screen  tricks  that  puzzle  you. 


Night  Scenes 
Made  in 
Daylight. 


COLOR  filters  which  hold  back 
certain  color  qualities  in  light 
make  possible  a  variety  of  lighting 
effects  on  the  motion  film.  The  fil- 
ters are  known  by  number  among  cameramen — Ki,  K2 
and  K3.  Ki  and  K2  are  used  to  aid  the  camera  to  pene- 
trate hazy  atmosphere  in  exterior  shots  and  bring  out  dis- 
tances. Thev  also  subdue  a  bright-blue  sky,  which  registers 
a  glaring  white  on  the  film.  Without  a  Ki  filter  a  white 
tent  would  blend  into  a  blue  sky  background,  but  the  fil- 
ter gives  the  visible  spectrum  tones  in  proper  contrast. 
These  orange  and  yellow  filters  intercept  much  of  the 
blue  light. 

An  orange  or  red  filter  is  used  to  get  night  effects  in 
scenes  shot  in  full  light.  They  give  a  luminous  night  sky 
and  yet  hold  back  scenery  and  subdue  detail.  High  lights, 
such  as  a  flaring  candle,  the  strike  of  a  match  or  a  glow 
from  a  window,  comes  from  the  use  of  tiny  carbon  arc 
lamps,  ingeniously  concealed. 


Hoiv  Stars 
are  Made 
Beautiful. 


WRINKLES  and  other  facial  defects 
that  are  not  apparent  in  the  aver- 
age scene  appear  with  dis-illusioning 
clearness  when  a  "close-up"  is  taken  of 
a  player.  To  soften  the  camera's  merciless  fidelity,  gauze 
came  into  use.  The  cameraman,  at  first,  carried  a  small 
piece  of  fine  net  in  his  pocket  and  when  it  became  needed 
he  fastened  it  across  his  lens  with  a  rubber  band. 

Now  most  caremamen  carry  a  set  of  gauzes,  fastened  on 
frames  that  can  be  adjusted  against  the  lens.  All  manner 
of  domestic  and  foreign  chiffons  and  nets  are  tried,  to  se- 
cure individual  effects.  For  the  use  of  the  gauze  has  in- 
creased. The  selection  is  important.  The  size  of  thread, 
separation  and  color  are  carefully  compared.  It  is  no 
longer  used  merely  to  "beautify  the  star"  but  to  make 
myriad  artistic  effects. 

In  many  cases  it  is  up  to  the  cameraman  to  get  over  the 
psychology  of  a  situation,  the  atmosphere  of  a  locality  or 
a  mood  almost  entirely  by  photographic  effect.  While 


(1)  A  frame  of  the 
same  dimension  of  the 
screen,  containing  a 
gauze,  is  held  across  the 
lens  to  mask  a  scene 
■within  its  dimension. 

(2)  The  circular  frame 
used  to  conveniently 
fasten  a  gauze  against 
the  lens  holder. 

(3)  An  i  rising  gauze 
holder  which  softens  the 
borders  of  a  scene,  but 
leaves  the  central  por- 
tion in  sharp  focus  in 
any  desired  measure  by 
adjusting  the  panels. 


<|  A  pottery  jug  is  broken  on  a  rock  painted  on 
a  canvas  in  the  background  of  this  remarkable 
set.  Can  your  eye  find  the  point  where  the 
painting  blends  with  the  actual  set? 

Photo  by  Cnrlis. 

lighting  and  composition  are  the  principal  tools  under  such 
conditions,  the  use  of  gauze  is  extremely  effective. 

Some  of  the  various  effects  secured  by  use  of  gauze 
are:  Vignetted  borders — scenes  with  soft  edges  which 
seem  to  melt  away  into  the  margin  of  the  screen ;  subduing 
areas  so  as  to  focus  interest  on  a  player's  face  in  a  dramatic 
moment ;  softening  the  entire  picture  to  give  smoothness  to 
the  skin  of  the  subjects,  a  shimmering  quality  to  the  hair, 
an  atmosphere  of  richness  and  a  sparkle  to  gems  and  tinsei 
and  lights. 


How  Minia- 
tures are 
Photographed. 


SINCE  Griffith  animated  tin  man- 
nikins  on  a  tiny  papier-mache 
wall  of  Babylon  in  Intolerance,  great 
advance  has  been  made  in  the  use  of 
miniatures  in  motion-picture  photography.  The  great 
handicap  first  met  was  that  smoke  fairly  roared  out  of 
chimneys,  small  boats  bobbed  around  like  corks  and  a  small 
avalanche  shot  down  a  mountainside  like  a  meteor.  But 
the  introduction  of  the  high-speed  camera  has  resulted  in 
convincing  action. 

Many  miniature  sets  are  used  in  the  modern  movie 
which  are  never  distinguished  from  the  real  scenes  by 
audiences.  Hardly  a  picture  nowadays  but  employs  a 
miniature  somewhere  in  the  story.  Their  principal  use  is 
in  conjunction  with  regular  sets,  such  as  a  vista  from  a 
doorway  or  across  a  patio.  In  this  case  they  are  built 
on  the  optical  principle  of  forced  perspective,  the  vanish- 
ing point,  instead  of  being  on  the  horizon,  being  perhaps 
only  twenty  feet  from  the  camera  and  at  a  height  of  about 
the  waist. 

The  use  of  miniatures  led  to  painted  backgrounds,  then 
double-exposure  photography  to  introduce  live  actors  into 
the  paintings.  This  principle  reached  astonishing  limits  in 
The  Rubaiyat  of  Omar  Khayam,  a  film  finished,  but  now  in 
litigation.  In  the  accompanying  illustration  a  live  actor  is 
shown  in  a  real  foreground  with  a  painted  backing.  The 
eye  cannot  determine  where  the  real  and  false  are  joined. 
"Scarcely  a  hair  divides  the  false  and  true."  A  pottery  jug 
is  broken  on  a  painted  rock  in  the  background  of  this  set 
in  the  film  and  the  action  recorded  by  use  of  double- 
exposure  photography. 

47 


T 

M.F  they  hadn't  improved  on  the  1890  model  bathing 
suit,  Mack  Sennett  wouldn't  be  where  he  is  today,  but 
if  Sennett  hadn't  tried  to  step  ahead  of  the  age  and 
adopt  costumes  to  be  worn  by  the  water  nymphs  of  a 
coming  generation,  his  bevy  of  beautiful  girls  would 


still  be  seen  gliding  their  dripping  way  across  the  sil- 
versheet.  But  the  censors  cut  in  a  while  back  and  now 
the  Sennett  company  makes  lighter  demands  on  the 
nearby  beaches  and  heavier  demands  on  the  wardrobe 
department. 


48 


Photo  by  Cross,  Atrial  Photographer. 


You've  heard  of  the  house  that  Jack  built?    Well,  absurd,  doesn't  it,  but  when  one  thinks  back  over  the 

if  vou  lean  over  the  side  of  the  ship  and  look  down  Sennett  flock  of  bathing  peaches,  he  has  to  admit  that 

you'll  notice  $125,000  worth   of  studio  and   motion-  Flo  Ziegfeld  is  shortsighted.  , 

picture-producing  paraphernalia  that  feminine  Beauty  The  circular  affair  in   Lot  One,  lower  right  hand 

built  and  that  masculine  Homeliness  cemented.  Sounds  corner,  is  not,  as  we  may  think,  the  tub  into  which 


49 


'  HOLLYWOOD  C<M_»*0**MK 

15) 


Sennett  tosses  the  gold  pesos  his  stars  have  earned 
for  him.  In  Screenland  it  is  called  a  "panoram."  Land- 
scapes are  painted  on  it  and  then  the  contraption 
whirls  about  at  45-miles  an  hour.  The  artists  enact 
their  hazardous  little  scenes  on  the  narrow  stage  en- 
circling it,  in  perfect  safety.  Often  we  have  wondered 
how  it  was  humanly  possible  to  perform  the  familiar 
Sennett  stunts  where  Ben  Turpin  flies  serenely  through 
the  air  or  whizzes  along  on  a  motorcycle  at  death-defy- 
ing speed.  The  secret  is  ours.  Sennett  cops  have  tra- 
veled thousands  of  miles  in  pursuit  of  comic  villains 
.   .    .   traveling  around  the  "panoram." 

The  peculiar  looking  square  to  right  of  the  "panor- 
am" and  near  the  extreme  corner  is  an  early  California 
set,  recently  used  by  Mabel  Normand  in  "Suzanna."  It 
was,  by  the  way,  a  reproduction  of  Ramona's  original 
home.  On  this  set  Mabel  vamped  all  the  little  bears 
and  defenseless  he-men  seen  in  "Suzanna."  Surround- 
ing are  a  number  of  small  structures ;  these  house  props 
and  other  doo-dads  are  used  in  Sennett  productions. 

Crossing  to  Lot  Two,  you  find  yourself  looking  upon 
the  first  stage  erected  by  Mack  Sennett,  75  x  125  feet, 
when  he  entered  the  business  'way  back  in  1912.  Des- 
tiny is  a  strange  thing,  you  agree,  as  our  guide  informs 
us  it  was  here  on  this  same  modest  stage  and  bit  of 
ground  that  Charlie  Chaplin,  Mabel  Normand,  Fatty 
Arbuckle,  Al  St.  John,  Ford  Sterling  and  a  host  of 
others  first  commercialized  their  funny  antics  on  the 
silvcrsheet.  Others  there  were  in  legion  whose  names 
blazed  in  electric  lights  for  a  short  time,  then  faded 
away  not  to  be  heard  from  anon. 

WHEN  Sennett  started 
business,  pictures  were 
really  in  the  infant  stage. 
Pies  were  slung  right  and 
left  and  we  had  spasms 
laughing  over  the  funny 
doings  of  comedians  then — 
things  that  today  would 
make  you  yawn  and  grunt 
in  disgust;  yet  in  1912,  we 
were  sure  we  had  never  be- 
fore seen  anything  quite  so 
comical  and  we  shrieked  for 
more.  Think  of  the  dozens 
and  dozens  of  pies  that  have 
sailed  across  that  stage  to 
waste  their  sweetness 
against  the  faces  of  comedi- 
ans !  Strawberry  pie,  lemon 
meringue,  mince,  apple.  .  . 

On  the  same  stage,  Gloria 
Swanson — the  divine  Gloria 
whose  subtle  lure  has  drawn 
many  a  handsome  young 
reel  hero  to  destruction — 
first  learned  to  snake  around 
as  a  Sennett  bathing  girl. 
Just  fawncy  that,  now! 
Marie  Prevost,  Mary  Thur- 
man  and  Alice  Lake  can 
have  gold-lined  bathtubs 
nowadays,  if  they  want  'em, 


but  back  in  the  dim  past  when  Sennett  discovered  them, 
bathing  was  work,  not  a  luxury. 

Then,  Gloria  and  Charlie  didn't  value  their  services 
at  very  high  figures  .  .  .  they  were  glad  to  get  any 
kind  of  picture  work  and  at  the  company's  own  price. 
Contrast  that  with  today !  Chaplin  earns  more  change 
than  his  voluminous  trousers  will  accommodate  while 
Miss  Swanson  doesn't  even  look  at  price  tags  when  she 
goes  to  shop. 

Hang  on  to  your  hat  as  we  skim  across  the  avenue. 

That  narrow  doorway  is  the  main  entrance  to  the 
plant.  The  little  line  of  windows  running  almost  down 
to  the  street  corner,  open  into  the  women's  dressing 
rooms— the  extra  girl's  first  glimpse  of  paradise.  To 
the  left  of  the  entrance  are  the  cutting  rooms  and 
laboratories.  Immediately  adjoining  these  is  the  pro- 
jection room  or  Sennett  theatre.  On  the  right  as  one 
enters  the  gate  are  passed  the  executive  offices — the 
brain  departments.  The  stages  require  no  description. 
The  famous  swimming  tank,  35  x  55  feet  and  12  deep, 
is  located  on  the  big  open  stage  to  the  right.  Charlie 
has  been  pushed  in  that  vat,  so  has  Ben,  while  many 
a  little  Sennett  squab  fluttered  about  in  the  same  cold 
water.  Mabel  Normand's  own  bungalow  is  the  tiny 
house  in  the  upper  left  hand  corner  of  the  lot,  near  the 
large  tree.  It  contains  a  reception  room,  bedroom,  din- 
ing room  and  bath.  Without  leaving  the  lot,  Miss 
Normand  can  receive  her  friends  either  formally  or  en 
famille;  have  her  cinnamon  toast  and  tea ;  take  a  little 
nap — in  fact,  it's  a  regular  little  home  and  with  all  com- 
forts. Ben  Turpin  has  no 
studio  bungalow;  j'ust  a 
dressing  room.  The  tall 
tower  houses  the  private 
offices  of  the  comedy  czar 
himself.  It  is  so  designed 
as  to  give  Sennett  a  bird  of 
a  view  of  his  entire  38  acres 
by  merely  lifting  an  eye 
from  his  mash  notes.  There 
is  a  Catholic  chapel  on  the 
premises,  too,  where  services 
are  held  every  Sunday,  we 
are  assured. 

On  Lot  Four,  just  beyond 
the  largest  stage,  you  see  the 
bear  den,  chicken  run 
(where  eggs  are  collected, 
by  the  way),  and  duck  pond. 
On  the  lot,  also,  are  the 
permanent  sets,  including  a 
city  street,  country  town  and 
Western  barrooms  (less  real 
than  the  chicken  runs). 

Crooked  eyes  and  straight 
limbs  —  Sennett  owes  his 
present  opulence  to  both! 


<i  Hozo  was  it  humanly  possible  for  Ben  Turpin  to  fly 
serenely  through  the  air  and  whizz  along  on  a 
motorcycle  at  death-defying  speed?  The  secret  is 
ours.  He  traveled  around  the  "panoram"  where  the 
cop  chases  of  the  old  comedy  days  were  staged. 


Next  month  zve  will  have  a 
look  at  the  Culver  City  palace 
of  arts — Goldwyn  Studios. 


50 


A  ctay  of  such  amazing  powers  no  less  than  a  dozen  imitations  have  sprung 
into  being;  applied  in  a  moment;  starts  its  work  in  ten  more  minutes;  and — 


,  In  forty  minutes,  wiped  away*  the  clay  has  forced  the  clarity  and  color  of 

youth  to  any  human  skin  on  or  hick  it  is  applied.  A  new  triumph  of dermatology 


A  New  Skin  in  40  Minutes 

with  this  Astounding  Beauty  Clay! 


How  a  Pleasure  Trip  to  Sunny  Wales  Uncovered  a 
Secret  of  Mother  Earth's  That  Forever  Ends  Any 
Woman's  Need  for  a  Complexion  Beautifier 


By  Martha  Ryerson 


HAVE  brought  to  America  the 
gTeatest  news  women  ever  heard 
about  the  skin.  From  Wales 
where  I  spent  a  month  without 
seeing  a  single  bad  complexion!  I  went 
there  with  a  complexion  that  had  been 
my  despair  since  childhood.  Otic  after- 
noon I  left  it  in  the  kills;  exchanged  it  for  me 
of  absolute  purity  and  undoubtable  natural  color. 

Except  that  I  tan  now  let  you  prove 
it  {or  yourself,  I  would  never  tell  the 
story —  a  story  my  own  father  found 
it  hard  to  believe! 

Hardest  of  all  to  believe  is  this;  the 
tranforfnation  took  just  forty  minutes! 
✓Here  are  the  facts: 

About  the  first  thing  one  notices  in  this 
southern  English  province,  is  the  uni- 
formly beautiful  complexions.  The 
lowliest  maid — and  her  mother,  too — 
has  a  radiantly  beautiful  skin.  Mine, 
lacking  lustre  and  color,  with  impurities 
nothing  seemed  to  eradicate  or  even 
hide,  was  horribly  conspicuous. 

It  was  a  happy  thought  that  took  a 
most  unhappy  girl  on  a  long  walk 
through  the  hills  one  afternoon.  I  had 
stopped  at  the  apothecary's  to  replenish 
my  cosmetic — to  find  it  was  unknown. 
They  did  not  have  even  a  cold  cream. 
The  irony  of  it!  In  a  land  where  beauty 
of  face  was  in  evidence  at  every  turn — 
the  women  used  no  beautifiers!  Do  you 
wonder  I  "took  to  the  hills?"  I  didn't 
want  to  see  another  peaches-and-creamy 
complexion  that  day.  But  I  did. 

At  a  house  where  I  paused  for  a 
drink  from  the  spring,  I  stepped  back 
in  surprise  when  the  young  woman 
straightened-up  to  greet  me.  Her  face 


was  covered  -with  mud.  I  recognized  the 
peculiar  gray  clay  of  that  section;  very 
fine,  sleek,  smooth  clay  it  was.  Seeing 
my  surprise,  the  girl  smiled  and  said, 
"Madam  does  not  clay?"  I  admitted 
I  did  not! 

I  Decide  to  "Clay" 

In  a  moment,  she  wet  the  clay  which 
had  dried  on  her  face  and  neck,  wiped 
it  away,  and  stood  in  all  the  glory  of  a 
perfect  complexion.  I  think  I  shall  never 
again  envy  another  as  I  did  that  stolid 
maiden  of  the  hills.  Her  features  were 
not  pretty;  they  did  not  need  to  be.  For 
no  woman  ever  will  have  a  more  gor- 
geous skin.  She  explained  that  this 
amazing  clay  treatment  did  it.  The 
natives  made  a  weekly  habit  of  "clay- 
ing" the  skin,  quite  as  one  cares  regu- 
larly for  the  hair. 

I  was  easily  persuaded  to  try  it.  Had 
I  not  done  ridiculous  things  in  beauty 
parlors  where  many  could  see  my  plight? 
We  tucked  a  towel  over  my  blouse,  and 
from  the  spring's  bed  she  took  the  soft, 
soothing  clay  and  applied  it. 

As  we  sat  and  talked,  the  clay  dried. 
Soon  I  experienced  the  most  delightful 
tingling  in  every  racial  pore;  the  im- 
purities were  being  literally  pulled  out 
Half  an  hour  more,  and  we  removed 
the  clay  mask.  Hopeful,  but  still  skep- 
tical, I  followed  into  the  tiny  house  to 
glimpse  myself  in  a  mirror. 

My  blemishes  were  gone! 

I  fairly  glowed  with  color  that  spread 
down  the  neck  to  the  shoulders.  My 
cheeks  were  so  downy  soft,  I  felt  them 
a  hundred  times  on  the  way  home. 
Father's  surprised  look  when  I  entered 
the  rooms  of  the  little  inn  that  evening 


was  the  most  genuine  compliment  a 
woman  ever  received.  In  a  basket  I 
had  two  crocks  of  the  precious  clay.  I 
thought  father's  questions  would  never 
end;  where  did  I  find  it;  could  I  take 
him  to  the  spot;  what  was  its  action,  and 
reaction,  and  lots  else  I  didn't  know. 
Father  is  a  chemist. 

Suddenly  it  dawned  on  me.  He  wanted 
to  unearth  the  secret  of  that  clay's  amaz- 
ing properties, and  take  it  to  America! 
For  two  weeks  we  staid  on;  he  worked 
all  day  at  his  "mud  pies"  as  I  called 
them.  Back  home  at  last  in  Chicago, 
he  worked  many  weeks  more.  He  ex- 
perimented on  me,  and  on  all  my  girl 
friends.  At  last,  he  scientifically  pro- 
duced clay  identical  with  that  Welsh 
clay  in  its  miraculous  effects — only  ten 
times  more  smooth  and  pure. 

Anyone  May  Now  Have  This 
Wonderful  Clay 

News  .of  the  wonders  performed  by 
this  clay  has  brought  thousands  of  re- 
quests for  it-  Women  everywhere  (and 
men  too,  by  the  way)  are  now  supplied 
Forty  Minute  Clay.  The  laboratory 
where  it  is  compounded  sends  it  direct 
to  the  user.  A  jar  is  five  dollars,  but  I 
have  yet  to  hear  of  anyone  who  did  not 
regard  it  worth  several  times  that 
amount.  For  mind,  in  over  six  hundred 
test  cases,  it  did  not  once  fail.  It  seems 
to  work  on  all  ages,  and  regardless  of 
how  pimpled,  clogged  or  dull  the  skin 
may  be- 

The  application  is  readv'ly  made  by 
anybody,  and  the  changes  brought  about 
in  less  than  an  hour  will  cause  open- 
mouthed  astonishment.  I  tnotv. 

When  I  seea  womannow  .with  a  coarse- 
textured  skin  that  mars  the  whole  effect 
of  her  otherwise  dainty  care  of  self,  it  is 
all  I  can  do  to  refrain  from  speaking  of 
this  natural.perf  ectly  simple  way  to  bring 
a  skin  and  color  such  as  Nature  meant 
us  to  have — and  has  given  us  the  way 
to  have. 


Keep  your  skin  pores  clean,  open, 
tingling  with  life!  My  father  has 
made  you  a  remarkable  offer  below. 
Read  carefully: 


FREE  DISTRIBUTION 
OF  $522  JARS 

(Only  One  Jar  to  a  Family) 

The  general  public  is  entitled  to  benefit 
by  a  discovery  of  this  importance.  So,  tor 
a  limited  time  we  will  distribute  regular, 
full-size  55-00  jars  of  Forty  Minute  Clay 
without  profit — at  onlv  the  actual  cost, 
which  is  $1.87. 

You  may  have  your  first  jar  for  onlythis 
bare  cost  of  getting  it  in  your  hands!  The 
expenses  of  compounding,  refining,  analy- 
zing, sterilizing, packing, printedannounce- 
ments,  and  shipping  in  large  quantity  has 
been  figured  down  co  $1.87  per  jar,  plus 
postage. 

Even  the  small  laboratory  cost  price  of 
$1.87  for  ingredients,  shipping,  etc.,  is  not 
really  a  payment;  rather,  a  deposit  that  we 
will  promptly  return  if  you  are  not  unreserv- 
edly satisfied  that  this  miracle  clay  is  all  we 
claim. 

Send  no  money  now.  Pay  postman  the 
net  laboratory  charges  of  51.87  plus  post- 
age, when  he  brings  your  jar.  Or,  if  unlikely 
to  be  home  at  mail  time, enclose  S2.00  and 
jar  will  arrive  postpaid,  with  the  same 
money-back  guarantee. 

I  can  assure  any  man  or  woman  who  will 
try  this  miracle  of  Nature's  own  chemical 
laboratory  a  ri-made  skin. 


Head  Ckemist 


THE  CENTURY  CHEMISTS,  Dept.  14& 

Century  Building,  Chicago: 

I  accept  your  "No  Profit" offer.  Please  send  me  a 
fnllsired.  regular  SS.00  jar  of  Forty  Minute  Beauty 
Clay  at  the  net  laboratory  coat  price  of  $1.37.  plus 
postage,  which- 1  will  pay  postman  on  delivery.  My 
money  back  unless  only  one  application  provescom- 
plctely  satisfactory. 


Add* 


/ittle  HINTS  for  BOOKLOVERS 

Fiction  Reviewed  from  the  Playgoer's  Viewpoint 


"THE  BEAUTIFUL  AND 
DAMNED 

•J  Reviewed  for  Screcnland  by  Olga 
Print  zlau,  who  has  made  the 
adaptation  of  this  nova]  for  the 
"Warner  Brothers'  Studios." 

In  his  novel,  "The  Beautiful  and 
Damned,"  the  author,  F.  Scott  Fitz- 
gerald, has  departed  boldly  from  the 
prosaic  construction  of  the  average 
novel,  in  that  he  has  eliminated  the  pro- 
verbial "villain"  that  generally  forms 
the  third  point  of  the  usual  triangle. 
And  yet.  there  is  a  villain  that  is  far 
more  subtle  and  devastating  than  any 
flesh  and  blood  conception  of  such  an 
entity  could  ever  be. 

The  story  deals  with  two  young  peo- 
ple of  that  wealthy  floating  population 
which  throngs  the  cafes,  cabarets,  thea- 
tres and  hotels  of  our  great  cities — 
people  adrift  on  a  sea  of  luxury,  with- 
out the  anchors  of  home  and  the  rud- 
ders of  responsibility. 

And  in  this  shining  sea  there  is  an 
awful  whirlpool  that  may  do  worse 
than  kill — it  may  destroy  the  soul  and 
leave  only  the  body.  It  is  the  whirl- 
pool of  hectic  extravagance  and  unan- 
chored  motives  and  affections  that 
forms  a  menace  to  the  average  young 
couple  of  today,  far  more  destructive 
than  the  prosaic  "other-person." 

In  adapting  this  novel  for  the  screen, 
I  have  made  a  most  gratifying  discov- 
ery— an  author  whose  work  may  be 
translated  almost  literally  to  the  screen. 
Of  course,  in  adapting  this  book,  much 
of  Fitzgerald's  literary  charm  must  be 
eliminated,  because  the  book  fairly 
sparkles  with  witticisms ;  but  Fitzger- 
ald also  writes  witticisms  that  will 
photograph.  The  secret  of  his  success 
in  this  novel,  for  screen  purposes,  is 
that  he  has  portrayed  truth  so  graphic- 
ally and  pictorially,  and  in  terms  of 
physical  action,  that  the  literary  bril- 
liance of  his  novel  plays  secondary  part. 

In  the  marriage  of  Anthony  Patch 
and  the  vivid  young  beauty,  Gloria 
Gilbert,  we  have  an  average  situation. 

Anthony,  the  heir  of  a  millionaire 
grandfather,  who  for  many  years  has 
leveled  a  series  of  uppercuts  at  vice,  lit- 
erature, Sunday  theatres  and  liquor,  is  one  of  those  re- 
proachless  young  men  who  toil  not — neither  do  they  spin. 

There  is  something  whimsically  pathetic  and  humorous 
about  the  little  "flapper-wife"  whose  sentimentality  clings 
fiercely  to  her  own  illusions— whose  ironic  soul  whispers 
to  her  that  "motherhood  is  also  the  privilege  of  the 
female  baboon"  and  so,  her  dreams  are  of  ghostly  children 

52 


only — the  early,  perfect  symbols  of  her 
early  love  for  her  lover.  Gloria  is  a 
"super-flapper" ! 

GLORIA'S  theory  of  life  and  love 
may  be  taken  from  her  own  illuminating 
diary.  "Beauty  is  only  to  be  admired, 
only  fv  be  loved — to  be  harvested  care- 
fully and  then  flung  at  a  chosen  lover — 
like  a  gift  of  roses.  It  seems  to  me,  so 
far  as  I  can  judge  clearly  at  all,  that 
my  beauty  should  be  used  like  that!" 

An  impractical  theory  for  any  young 
wife  to  start  life  and  marriage  with, 
lor  roses  wither,  even  the  fairest  of 
them,  and  even  the  memory  of  the  gift 
may  be  forgotten — and  only  the  stems 
with  their  harsh  thorns  left  to  view. 

Had  Anthony  Patch  and  Gloria  been 
more  mental,  or  "deep-thinkers,"  the 
psychological  actions  attendant  upon 
their  "thinking"  would  be  less  physical, 
but  logically  passive,  and  therefore — 
unphotographical. 

The  shadow  of  a  great  future  wealth 
hanging  over  him,  Anthony  finds  every 
ambition  to  perform  any  individual 
labor  stifled,  and  his  and  Gloria's  daily 
slogan  comes  to  be,  "Wait  until  Grand- 
pa Patch  dies!"  And  so,  they  drift 
toward  the  whirlpool. 

The  inevitable  crash  comes,  when, 
during  a  hectic  week-end  house-party, 
the  aged  millionaire  decides  to  pay  his 
grandson  a  visit. 

The  result  is  that  when,  a  week  later, 
the  old  man  dies,  Anthony  and  Gloria 
are  disinherited.  Dependent  upon  his 
provision,  they  find  themselves  swept 
down  into  the  vortex  of  poverty.  Above 
them,  on  the  glittering  surface,  their 
friends  and  the  gilded  past  float  on. 
Anthony  sinks  lower  and  lower — retain- 
ing one  thing  to  the  last,  however,  his 
purity  of  morals,  but  even  this  is  shaken 
and  put  to  a  tremendous  test,  by  the 
entry  of  a  little  creature  of  the  half- 
world,  into  his  life.  This  soubrette  has 
found  out  that  he  is  related  to  the  de- 
ceased millionaire,  and  plays  for  him 
accordingly. 

The  menace  which  so  nearly  de- 
stroyed them,  is  itself  destroyed,  and 
they  learn  that  Love  to  be  understood 
must  be  lived.  Finally,  Anthony  and 
Gloria  regain  their  lost  fortune,  they  found  a  greater 
wealth — love  they  thought  had  been  swept  away. 

In  "The  Beautiful  and  Dawned"  many  will  find  them- 
selves looking  into  a  mirror,  and  at  the  same  time,  they 
will  discover  WHY  the  reflection  sends  back  such  a  dis- 
illusioning image— and  perhaps  they  will  be  able  to  check 
the  ravages  of  the  cause. 


THE  HOUSE  OF  MOHUN,  by 
George  Gibbs.  What  will  become  of 
the  modern  novelist  when  the  flapper 
is  extinct?  It  is  in  this  whirlpool  of 
cigarette  -  smoking,  rolled  -  stocking, 
corset-checking  flappers  that  the 
House  of  Moulon  fell — and  from 
whence  it  was  righted  by  Cherry, 
the  daughter- — effervescent,  lovable, 
rudely  frank — herself  a  twentieth- 
century  flapper.  The  most  powerful 
of  Gibbs'  late  works,  except  "The 
Flaming  Sword."  (Appleton.) 

Dancers  int  the  dark,  by 

Dorothy  Speare,  is  the  story  of  three 
"modern"  girls  and  their  final  sur- 
render to  love  and  marriage.  Miss 
Speare  is  a  regular  female  Fitzgerald 
in  her  vivid  description  of  those  lus- 
cious young  creatures  whom  she 
aptly  calls  "excitement  eaters."  The 
action  is  largely  psychological,  and 
such  episodes  as  could  be  screened 
are  all  censorious.  Read  the  book — 
then  write  a  letter  to  vour  local  Cen- 
sor Board.  The  only  part  of  the 
story  the  movies  could  use  would  be 
the  title,  and  even  that  would  have 
to  be  illuminated  in  order  to  show 
up  on  the  screen.  (Doran.) 

THE  SKY  MOVIES,  by  Gaylord 
Johnson,  is  written  for  children  in  a 
charming  style  and  introduces  to 
them  scientific  astronomical  facts  in 
a  way  they  can  easily  understand. 
The  book  is  written  on  the  theory 
that  the  best  way  to  teach  a  child 
anything  is  by  the  use  of  word  pic- 
tures, drawings  and  illustrations  un- 
til he  has  related  ideas  concerning  a 
new  thought.  (Macmillan.) 

The  shadow  of  the  east, 

by  E.  M.  Hull.  While  we  note  con- 
siderable improvement  in  her  literary- 
style  since  The  Sheik.  Mrs.  full's 
latest  novel  is  in  all  other  ways  dis- 
appointing. It  is  sure  not  to  attain 
to  anything  like  the  popularity  of  her 
former  work,  and  it  is  very  im- 
probable that  it  will  ever  find  its  way 
to  the  screen.  The  scenes  arc  laid 
in  Japan  and  England.  An  English- 
man, the  hero,  after  illegally  living 
with  a  Jaoanesc  discovers  that  she  is 
no  other  than  his  own  half-sister.  He 
is  horrified  and  the  girl,  believing  his 
love  has  turned  cold,  kills  herself. 
He  later  falls  in  love  with  the 
daughter  of  a  friend,  but  the  shadow 
of  the  East  haunts  him.  Finally,  he 
confesses  all  that  occurred  in  Japan. 
(Small,  Maynard.) 


I 


►  HOUVWOOD  CAlirOfLMt*. 

/•OS 


This  traperb  6-ptece  set  is  trade  of  selected  solid  o*k 
throughout,  finished  in  rich,  dull  waxed,  brows  famed 
oak.  Four  pieces  ore  padded;  seats  upholstered 
with  brown  Delavna  Spanish  leather,  the  beat 
Imitation  of  cearane  Spanish  leather  avows. 
Utorrts  Hocber  has  the  real  comtort  nfelns _  features 
of  the  Morris  chair  and  conch,  aa  well  aa  the  addi- 
tional edvaataaje  of  a  rocker.  The  hack  hi  adjustable 
to  3  positions.  Foot  rest  can  be  extended  or  hidden 
entirely  under  seat.  Seat  mi  asm  i  n  20  x  20  inches, 
width  of  back  27  inches,  height  of  back  from  neat  28 
inches.  Arms  4  inches  wide, 

Arm  Cfcair  is  a  rooms,  dicnlfied  piece  off  furni- 
ture, comfortable  and  bier  enough  for* eery  larva 
person  while  not  aeemhnr  too  terse  for  the  ordinary* 
occupant.  Seat  19  x  17  1*2  in. ,  height  36  In. 
Arm  Reefcnr  is  a  massive,  stately,  comfortable 
piece,  with  beautifully  designed  back,  wide,  shapely 
arras,  and  smooth  operating  runners.  Seat  IS  x  17 1-2 
in.,  height  36  in. 

Library  TnMn  —  A  beauttf ol  piece  of  library  fur- 
niture. Beautifully  designed  ends  to  match  chairs 
wifcn  roomy  magazine  shelf  below.  Legs  cut  of  2  fa. 
stock;  massive,  dignified.  Top  meesnrea  23  1-1  x  34  ha. 
WfpllOfI  Chair  has  beautiful  shape  to  match  the 
other  pieces.  Seat  measures  17  x  17  in.,  height  35  in. 
Jaidhiiam  Stand  matches  other  pieces.  A  dec- 
oration to  your  living  room  or  library.  Carefully 
built  throughout.  Measures  17  1-2  to.  high;  the  top 
12  x 12  inches. 

Entire  set  shipped  knocked  down  coustructkm.  Easy 
to  set  up.  Saves  freight  charges.  Wt.  about  «30  lbs. 
Orator  by  No,  I7M4A     St.OO  w*b  • 
cnwpww7*3*00  a  roowt*.  price  |SU«. 

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A 

Room 
Full  of 
Furniture 

With  Solid  Comfort  Morris  Rocker 

Only  $1.00  with  the  coupon  brings  you  this  positively  sensational  furniture  bargain— on  30 
days  trial.  Six  splendid  pieces  of  furniture— fumed  solid  oak— including  a  wonderfully 
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back— at  a  slashed  price  that  is  positively  sensational  when  you  consider  the  value,  the 
usefulness,  and  the  supreme  comfort  of  this  set  A  few  months  ago  a  set  like  this  would 
have  cost  you  $40.00.  But  now,  on  a  special  factory  sacrifice,  we  can  slash  the.  price  on  this 

complete  set  to  only  $32.80 — and  on  easy  payments  of  only  $3.00  a  month!  Get  this  special  price,  special  terms, 
and  special  comfort.  Seize  this  opportunity  on  our  special  offer — we  take  all  the  risk.  Don't  delay. 

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When  you  get  this  magnificent  6-piece  library  set,  put  it  in  your  living  room  or  library  and  use  it  freely  for  30 
days.  Note  the  massive,  solid  construction,  the  beautiful  fumed  oak  finish  —  the  fine  upholstery  and  grace- 
ful lines.  Enjoy  the  solid  comfort  and  rest  of  the  Morris  rocker.  Compare  it  with  anything  you  can  buy 
locally  at  anywhere  near  the  same  price  —  area  for  spot  caah.  Then  if  not  satisfied  for  any  reason, 
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9  Mt  wtthia  80  dare  aad  yoa  are  to  refund  mm  mune $  and  aar 


frataht  etianres  1  paid. 

□  6-«ece  uaewry  Sat.  Mo.  B72a<A.  < 


Don't  delay.  Just  send  $1.00  along  with  the  coupon  as  a 
deposit.  If  you  wish  to  return  the  set  after  30  days,  your 
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I  Same . 


■  Street,  S.FJ}. 
S  or  Box  Nc  

5  Shipping 

9  Point  


Straus  &  Schram,  Department  2148  Chicago 


S  QtJiee   State  

M  ya«  aaly  waat  catatas  pet  X  M  bos  hwtow: 
-*  □  Fatten,  Stem,  Jcndrf  □  Xn'tv  Waa't,  Wkait  QtAaf 


S3 


HOLLYWOOD  C«ltrORMiA 


SOL  LESTER. 

presents1 


CHARLES; 
DICKENS 


CLASSIC 
ASTERPIECE 


1ACK.1E 

J.COOGAN 
in 


OLIVER  T^/IST 


omm 


w  n 


DIRECTION 

FRANK.  LLOYD 


A  PERFECT  visualization  of  one  of  the  world's  choicest  and  most  thrilling  novels,  this  story  is  com- 


mended  in  confidence  to  those  millions  that  adore  the  boy-genius  of  the  screen  and  to  all  that  love 


and  admire  the  literary  genius  of  Charles  Dickens. 

The  book  is  made  a  living  thing  and  the  dream-child  of  Dickens'  imagination  is  come  true  in 
the  person  of  little  Jackie  Coogan. 

Fagin,  "the  merry  old  gentleman,"  is  seen  as  Dickens  saw  him ;  Bill  Sikes  and  Nancy  Sikes  come 
to  life;  Mr.  Brownlow,  Mr.  Bumble,  Charlotte,  the  Artful  Dodger,  Toby  Crackitt — they  are  all  brought 
vivid  and  living  to  the  silver-sheet. 


•  HOU-VWOOO  C*U»ORMIA 


^.LLSIKE^  **Sm.™*™      Mr. HONKS 
NANCY  SIKES  ^  w   Mr.BROWNtfW 


Mr.GPRGE  SIEGMANN  Mr.EDOWRDTREBAOL 


MissGlADYS  BROCKMIL 


Mr.CARL  STOCKDALE 


Mr.UONEL  BELMORE 


Mr.  LON  CWANEY 


gefic  DECADE 

A.  i  ati-i  ii  ccc  ^ii^^C?^^  JACKIE  />»  THLf , 

CASTdfSCRbhN  /A         ^      VmV  AruiEVCMENT 
CELEBRITIES  /^^B^Vl  M\  ACHIEyMb" 
SUPPORTING  "^^"^   ^mmw  + 


o/fainri 


NOAU  CLAY  POLE     Mr.  BUMBL  E 


EST  HOYACTOK&w' 

ROSE  MAYLIC        Mr.GRIMWIG       TOBY  CRACKITT      Mrs. CORN EY 


Mr.LEWIS  SARGENT    Mr.  JAS.  MARCUS 


Miss  ESTHER  RALSTON  MrJOSEPH  H  AZLETON    Mr.EODIE  BOLAND  Miss  AGGIE  HERRING 


-  v 

.  1 


GlUhat's 


T, 


LOST  BONDS. 
By  F.  A.  S.,  Camden,  S.  C. 


the  MATTER  with 


y  STORY? 


HIS  department  is  occupied  to  a 
large  extent  in  reading  scenarios  that 
are  unsuitable  for  production  and  in 
pointing  out  to  the  authors— and  read- 
ers— some  of  the  reasons  why  they 
are  unsuitable.  But  your  contribution 
is  one  of  the  few  that  has  distinct 
screen  possibilities.  Although  briefly 
presented— in  its  2000  words — there 
is  no  question  in  our  mind  but  that  it 
possesses  structure  for  a  good  melo- 
drama, worthy  the  attention  of  a  stu- 
dio scenario  department  in  want  of 
melos. 

Are  you  familiar  with  East  Indian 
customs?  Then  why  don't  you  write 
your  story  longer,  adding  color  and 
characterization?  There  is  a  passage 
from  a  recent  book  review  by  the  bril- 
liant Henry  Van  Dyke  (The  New 
York  Times)  which,  although  written 
of  a  novel,  holds  valuable  interest  for 
photoplay  student.   He  writes : 

"The  function  of  the  novelist  is  to 
make  a  story  real  by  showing  the  re- 
lations and  consequences  of  human 
actions — and  not  of  outward  actions 
only,  but  also  of  feelings  indulged  and 
thoughts  habitually  cherished.  Those 
inward  actions  and  reactions  belong  to 
reality  just  as  truly  as  the  visible  ele- 
ments by  which  they  are  accompanied. 
.  .  .  It  is  not  merely  by  the  deeds 
of  the  body  but  also  by  'the  deeds  done 
in  the  body'  that  the  drama  of  life  is 
woven  on  the  loom  of  circumstance." 

Two  love  elements  arc  dangerous. 
The  pitfall  of  scattered  interest  has 
ensnared  even  the  most  successful 
scenarists  and  playwrights,  at  times. 
It  is  essential  to  your  story,  of  course, 
that  there  be  the  two  love  elements' 
but  one  should  be  subdued.  The  other 
must  be  the  major  love  element. 

So  use  your  story  for  a  pattern  and 
cut  from  the  cloth  of  life.  When  the 
fabric  is  as  good  as  the  pattern,  sub- 
mit it  to  a  studio  editor. 

56 


M;y  Maiden  Effort 

By  Raymond  L.  Schrock, 

Scenario  Editor,  Universal  Film  Mfg.  Co. 

It  was  early  in  the  year  1911,  having  given 
up  the  profession  of  civil  engineering,  be- 
cause in  that  capacity  I  had  broken  most  of 
the  walking  records  of  Dan  O'Leary  and  Ed- 
ward Payson  Weston;  and  not  being  able  to 
"doll  up"  and  "trip  the  gay  fantastic" 
amongst  Chicago's  North  Shore  elite,  on  the 
slender  salary  of  newspaper  reporter,  I 
chanced  to  look  over  a  most  alluring  and 
promising  advertisement  of  the  Vitagraph 
Company  of  America,  which  stated  that  they 
would  pay  handsomely  for  motion  picture 
scenarios. 

With  visions  of  a  new  summer  outfit  and 
many  nights  of  gladness,   I   hastened  to  a 
nickelodeon  near  the  old  "Rough  and  Ready" 
boarding  house,  where  I  hung  my  hat;  be- 
cause you  see  I  hadn't  the  least  idea  whether 
a  scenario  was  a  short  story  or  a  mechanical 
drawing;  and  there  I  sat  through  four  show- 
ings of  the  popular  offering  of  the  times  (a 
one-reel  drama),  trying  to  dope  out  some 
idea  of  the  technique  of  writing  this  new 
perplexing  term  scenario.    That  night  over 
my  trusty  double  barreled  Smith  Premier,  I 
managed  to  tell  a  story  in  about  25  scenes 
and  called  it  "On  the  Firing  Line,"  which 
you  will  readily  guess  was  a  Civil  War  thril- 
ler   about  a  spy  and  pretty  girl,  and  the 
poipers."    With  great  care  and  dispatch  I 
mailed  'his  first  movie  brain  child   to  the 
Vitaqraph  Company,  and  the  next  night  I 
hammered  out  another,  and  sent  it  to  the 
Kalem  Company,  because  I  had  discovered 
that  other  companies  were  waiting  breath- 
lessly to  send   checks  to  aspiring  writers. 
You've  probably  guessed  It  already— my  sec- 
ond masterpiece  was  as  the  first  a  Civil  War 
drama,  called  "The  Two  Scouts."  Now  comes 
the  tnrll  of  this  narrative — my  daily  work 
piled  higher  and  hlaher  at  the  newspaper 
office,  and  I  forgot  all  about  the  feverish  in- 
spiration of  those  two  nights.     Then  one 
morning  I  found  a  letter  on  the  community 
table.    It  sure  handed  me  a  thrill,  because 
the  envelope  was  too  small  to  contain  the 
remains  of  my  poor  manuscript.    Inside  was 
a  check  for  $20  and  a  printed  release,  where- 
by I  was  to  sign  away  all  my  dramatic  rights 

L°u.fa.,d  stor,v-  Little  did  the  Kalem  editor, 
Phil  Lang,  for  it  was  Kalem  who  first  dis- 
covered that  I  was  a  genius)  dream  that  for 
$20  I  would  have  signed  away  everything  but 
my  life.  Anyhow,  Vitagraph  made  the  same 
momentous  discovery  of  talent,  for  three  days 
later  I  was  spending  their  check  for  $20  for 
one  grand  trip  to  Mackinac  Island,  with  all 
the  trimmings. 


A  KENTUCKY  GIRL 
By  M.  L.,  Los  Angeles,  Calif. 
/\S  a  fledgling  scenario,  what  yoi 
have  submitted  is  a  worthy  effort ;  bu 
it  contains  no  sales  possibilities.  L 
more  nearly  resembles  a  simple  narra- 
tive than  a  well-rounded  story  plot. 
Elizabeth,  Hinton  and  Hargrave— the 
familiar,  age-old  triangle,  is  the  only 
basis  you  have  for  action.  There  is  no 
theme— only  a  mild  degree  of  conflict 
between  hero  and  villain,  with  Jack 
Lewis  a  slight  comedy  relief. 

This  story  was  criticised  in  a  pre- 
vious issue  in  this  department,  we  re- 
member. 


WIDE  AWAKE 

By  C.  H.  IV.,  Vernon,  Texas. 

YOU  say  your  story  is  especially 
written  for  Will  Rogers,  who  isn't 
making  pictures  now  but  appearing  in 
vaudeville.  (Although  we  hope  we 
will  see  more  of  his  appealing  come- 
dies.) Do  not  make  the  mistake, 
when  writing  a  story  for  any  certain 
star,  to  duplicate  the  sort  on  which 
you  have  seen  that  star  appear.  You 
have  written  more  in  the  vein  of  what 
you  have  seen  than  of  striking,  orig- 
inal material,  which  others  want  to 
see. 

Of  course,  Will  Rogers  would  never 
consider  a  story  so  nearly  the  same  as 
Living  Up  to  It  in  which  he  appeared. 
But  don't  feel  badly  about  that.  Near- 
ly all  amateur  scenario  writers,  it  is 
said  around  the  studios,  are  mirrors 
of  the  screen.  It  is  the  writer  who,  by- 
practice,  acquires  the  dramatic  skill 
to  capitalize  his  own  orieinality  who 
makes  a  success.  Take  this  Bert  Ben- 
son of  yours  and  make  him  do  unex- 
pected,  unusual  things   for  unusual 
purposes  in  order  to  lift  the  interest  of 
the  story  above  the  sorididness  of  the 
man's  surroundings.    And  remember 
that  every  part  of  your  story  must 
bear  some  essential  relation  to  every 
other  part.    As  you  now  have  it,  the 
failure   of   Benson's   oil  investment 
and  his  success  at  capturing  chicken 
thieves  are  two  fragments  of  action 
entirely  separate. 


t 


HOULVWOOO  CMJfORMI* 


What  Do  YOU  Know  About  LOVE? 

Why  does  Theda  Bara  smile? 


NOT  one  person 
in  ten  thousand 
knows  the  facts  An- 
dre Tridon  tells  in 
his  brilliant  book. 

The  scenario  writ- 
er will  find  in  it  ma- 
terial and  informa- 
tion without  end. 

The  "movie  fan" 
will  understand  every 
action  of  the  screen 
stars,  each  little  im- 
pulsive gesture  they 
make,  as  though  it 
were   set   down  in 

type. 

The  student  of  life 
will  find  cause  to 
ponder  over  this  pan- 
orama of  jealousies, 
passions,  hates,  de- 
sires, tears  and  ten- 
dernesses which  we 
call  love. 

"If  you  have  been 
puzzled  to  know  what 
is  the  matter  with 
this  strange  humani- 
ty and  why  it  per- 
sists in  doing  the 
most  irrational,  ab- 


tycho- 
a,*alysis 

and 
Love 
* 


PSYCHOANALYSIS 
LOVE 


LOVE 


•■ft* 


surd  and  cruel  things, 
read  Andre  Tridon," 
says  Dr.  Frank  Crane. 
Here  are  explained 
Jealousy 
Cruelty  in  love 
Successful  and  dis- 
appointed lovers 
The  sins  of  Puri- 
tanism 
The   shame  often 
concealed  beneath 
the  mask  of  mod- 
esty 

Is  free  love  com- 
ing to  America?  Is 
the  marriage  contract 
obsolete?  Tridon  ex- 
plains the  future  of 
love  relations. 

This  book  is  the 
book  to  have!  As 
authoritative  in  its 
field  as  the  encyclo- 
pedia. As  scientific 
as  a  medical  book. 
As  essential  as  arith- 
metic. As  entertain- 
ing as  fiction. 

Be  the  first  among 
your  friends  to  talk 
about  it. 


Psychoanalysis  and  Love 

By  ANDRE  TRIDON 


To  BRENT  ANO'S,  Booksellers  to  the  World, 

Fifth  Avenue  at  AND  LOVE,"  and  I 

Please  rush! 

Name   

Street   : 

"Town  

State  ■  ,  '. 


This  is  the  most  interesting  and  most 
understandable  information  about  love 
ever  published. 


Get  it! 


$2.50 


mmmmm 


C]jjour  OWN 

T  ▼  it  are  sorely  tempted  to  nrn-    Whv    ran't  a_i..-^  


P 


age 


E  are  sorely  tempted  to  pro- 
claim this  the  "best  ever"  issue  of 
Screenland.  But  that  question  re- 
mains for  the  reader  to  judge.  The 
restraint  of  oppressive  modesty,  how- 
ever, will  not  seal  our  lips  from  direct- 
ing a  proud  finger  (as  a  speaker  said 
at  a  Will  Hays  banquet)  to  a  few  of 
the  better  things  in  this  issue— most 
of  which  were  suggested  by  Your 
Own  Page  letters. 


One  Screenland  reader  who  at- 
tained the  exalted  plane  of  ex-officio 
editorship  was  Morris  J.  of  Pittsburgh. 
He  suggested  "a  page  of  cartoons  re- 
lating to  the  movies."  The  result  is 
"Cartoons  of  the  Month"  on  page  40 
— a  new  regular  feature. 


Gladys  Montgomery  of  6  Riverside 
Drive,  Red  Bank,  N.  J.,  won  the  first 
prize  of  $50  in  Screenland's  "Letter 
S"  Contest,  which  is  being  followed 
by  the  Screenland  Title  Contest  on 
page  8. 

The  other  prize  winners  in  the 
"Letter  S"  Contest  were  : 

Mrs.  Lucius  Leslie,  Winner,  S  D 
$25. 

Mrs.  Charles  E.  Lee,  Donipham, 
Mo..  $10. 

Miss  Alice  Carv  Tobie,  3  Deering 
street,  Portland,  Me.,  $10. 

Patricia  Sanders,  3^6  Greenwood 
avenue,  Atlanta,  Ga..  $5. 

Miss  Gladvs  Curric,  R.  F   D  1 
Fayetteville,  N.  C,  $2.  ' 


Have  you  ever  heard  of  die  strange 
movie  theatre  where  the  mixed  races 
of  Malaya  watch  pictures  from  both 
sides  of  the  screen.  "What  matters 
if  the  titles  are  backward?  The  na- 
tives cannot  read  them,  anyhow," 
writes  L.  G.  Blochman,  Screenland's 
special  traveling  correspondent  in  the 
Orient.  Don't  miss  Mr.  Blochman's 
delightfully  humorous  description  of 
"Movies  in  Malaya"— in  Screenland 
tor  December. 


Why    Can't   the    Ambitious  Girl 
Break  Into  the  Movies? 

Why  Can't  Talented  Young  Writers 
Sell  Their  Stories? 

Why  Are  Most  Movies  Stupid? 

£ditor  Your  Own  Page: 

What  is  the  matter  with  the  movies' 
Big  money  and  little  brains  !  Politics  »  In- 
efficient, experienced  barons  strangling  the 
peasantry  of  youth  and  new  ideas'  One 
sincere  and  talented  worker  to  a  score  of 
selhsh,  envious,  vengeful,  bigoted  ovcr- 
j  11       °       1  thcmsclvcs  slipping  in  the 

f  j  J,h'S-  1S  what  exists  in  thc  stud'°s 
today.    This  is  thc  trouble  with  the  movies 

the  movies  are  honeycombed  with  dry- 
rot— atrophied  job-holders  who  stifle  the 
enthusiasm  of  new  talent  and  lock  the 
gates  against  new  ideas.    These  men— and 
women— holding  positions  of  power,  are 
thc  ones  through  whose  hands  pass  the 
materials  that  make  the  screen  entertain- 
ment of  the  world,  and  who  ruin  the  ex- 
pensive  wares   producers   are  frantically 
bidding  for.    A  gem  of  a  story  turns  to 
dross   when   an   officious   scenario  editor 
chokes  it    Stars  ready  for  the  discard  arc 
supported   by  "pull."     Is   it  any  wonder 
that  the  worth-while  talent  has  turned  away 
f  rom  the  studios,  regardless  of  the  attrac- 
tion of  big  monev  and  quick  fame?   This  is 
a  fascinating  subject  to  ez'eryone  sincerely 
interested  in  thc  movies. 

Lawrence  Partringer  Hollywood. 

Thc  anszver  to  this  letter  and  to  the 
thousands  of  unspoken  questions  from 
every  playgoer  who  realizes  the  need 
for  hiqher  screen  standards  will  ap- 
pear in  Screenland  for  December. 
It  will  be  

The  Spy  System  in  the  Movies 

It  is  the  petty  bureaucracy  of  the 
studios,  the  selfish  intrigue,  hate,  sus- 
picion and  jealousy  that  is  fastened 
like  a  leech  to  art  that  is  responsible 
for  weak,  banal,  dangerous  pictures! 
Screenland  has  investigated  and  for 
the  first  time  in  motion-picture  jour- 
nalism gives  the  complete  facts  in 
Screenland  for  December  —  next 
month!    Don't  miss  it! 


able  artists— who  have  been  turneu 
away  from  studio  gates  and  casting 
offices  are  only  a  few  of  the  American 
public  who  will  find  exceptional  in- 
terest in  Screenland's  great  revela- 
tion, "The  Spy  System  in  the  Movies  " 
beginning  in  Screenland  for  Decem- 
ber.  This  is  a  subject  of  vital  interest 
to  every  playgoer.    Why  are  most 
movies  so  inadequate?    The  answer 
lies  m  the  demoralizing  despotism  of 
the  studio  spy.    Weeks  have  been 
spent  m  compiling  this  striking  article 
I  he  first  big  step  toward  stamping 
out  bad  pictures  is  clearly  pointed  out 
m  this  frank  revelation.    If  you  love 
the    movies,    follow  Screenland's 
right  for  better  pictures. 


The  constant  endeavor  is  to  make 
o Greenland  radiate  the  charm  of 
Screenland.  Hollywood  is  the  world's 
Screenland  and  on  its  pages  Screen- 
land  hopes  to  show  every  glittering 
ray  from  the  magic,  alluring  play  city 
and  parade  the  unending  stream  of 
vibrant,  colorful  life  every  month. 
tor  Hollywood  is  Screenland  and 
Screenland  is  Hollywood. 

Scores  of  new,  original,  fascinating 
and  helpful  subjects  bulge  the  next 
and  future  numbers  —  subjects  that 
never  before  have  appeared  in  any 
motion  picture  magazine.  Intimate 
sincere,  accurate  stories  and  articles 
wil  show  you  how  unlike  is  the  real 
Hollywood  from  the  many  untruths 
that  have  been  printed  about  it. 


One  reader  who  assuredly  will  not 
miss  this  unusual  article  is  Miss  M.  M 
of  Toronto,  Canada.  "The  Blochman 
articles  are  not  alone  interesting  but 
they  cause  one  to  speculate  on  the 
mentality  of  races  in  foreign  environ- 
ments," she  writes. 


Wichita  Falls,  Texas.  "It  has  always 
seemed  to  me  that  the  photoplay 
could  be  a  mighty  factor  in  creating, 
in  the  Orient,  a  deeper  understanding 
of  the  ways,  habits  and  mental 
processes  of  the  people  in  America. 
It  is  a  rare  treat  to  read  about  this 
new  great  civilizing  force,"  is  a  para- 
graph in  the  letter. 


Screenland  critics  review  nearly 
all  plays  mentioned  in  "Little  Hints 
for  Playgoers"  in  studio  projection 
rooms.  They  daily  see  the  stars  play- 
ing on  the  sets,  talk  with  the  directors 
and  gam  a  sympathetic  and  compre- 
hensive knowledge  of  the  difficulties 
encountered  in  picture-making.  This 
leads  to  accurate,  just  comment  on  the 
finished  art.  Being  "made  where  the 
movies  are  made"  makes  all  this 
possible. 


Another  kind  reader  who  writes  to 
bespeak  his  interest  in  the  Blochman 
series  of  articles  is  Mrs.  C.  M.  B.  of 

58 


The  discouraged  thousands  —  some 
of  them  potential  stars,  embryo 
eminent  authors,  inventive  geniuses, 


So   many   readers   demand  more 
Little  Hints  for  Playgoers"  that  "Thc 
Leading  Picture  of  the  Month"  as 
well  as  more  smaller  reviews  appear  in 
every  issue ;  in  other  words,  this  sec- 
tion of  the  magazine  is  gradually  being 
enlarged.    When  you  disagree  with  a 
review,  send  an  "anti  bouquet"  letter 
to  'Little  Hints"  department  and  give 
your  views. 


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10 


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LOCATION  STUFF 

(Continued  from  page  24) 

passed  him  on  the  steps  of  the 
Metropolitan  Hotel-  "She  thinks 
she's  important.  ] 

"An  assistant  director  is  the  low- 
est form  of  animal  life,"  she  was 
telling  the  crowded  lobby  and  not 
a  few  of  the  townspeople  who  had 
gathered  about  the  porch  to  gape 
at  the  actors.  "If  this  dumbbell 
thinks  he  can  give  me  a  room  that 
I  wouldn't  put  my  dog  in  he's  crazy. 
I  won't  stir  a  step  till  I  see  Mr. 
Bloom." 

"You  can  stir  now,  Julie,"  said 
the  ashamed  Mr.  Bloom,  edging  his 
way  through  the  crowd.  "I  am 
present." 

He  had  pitched  his  voice  low  in 
the  hope  that  she  would  follow  his 
example,  but  the  voice  in  which  she 
repeated  her  opinion  of  assistant 
directors  in  general,  and  of  Mr. 
Bloom's  assistant  director  in  par- 
ticular, was  audible  throughout  a 
large  part  of  Grandville. 

"But  the  poor  man  is  rooming 
people  as  well  as  he  can,"  pleaded 
Mr.  Bloom.  "If  you  don't  like  the 
room  he's  picked  out  for  you  I'll 
trade  with  you." 

If  he  expected  that  this  offer 
would  cause  her  embarrassment  he 
was  wrong. 

"I'll  take  it,"  she  said.  "The 
room  he  gave  me  has  got  cowboys 
all  around  it." 

"What  do  I  care  for  cowboys.'"' 
queried  Mr.  Bloom  with  a  brave 
snap  of  his  fingers. 

He  cared  a  great  deal  for  them 
before  morning,  for  immediately 
aiter  supper  they  started  a  poker 
game  which  did  not  break  up  until 
sunrise. 

"But  at  seven-thirty  everybody'll 
be  made  up  and  gone  out  to  work, 
and  then  I  can  get  some  sleep," 
he  promised  himself. 

But  at  exactly  seven-ten  it  began 
to  rain.  It  rained  until  after  eleven, 
and  by  that  time  Mr.  Bloom  was 
so  out-of-sorts  with  the  world  that 
he  would  not  even  try  to  sleep.  As 
soon  as  the  sky  cleared  the  assist- 
ant manager  ran  around  and  shep- 
herded the  actors  into  the  auto- 
mobiles.   They  were  to  drive  to  a 
ranch  that  lay,  an  emerald  upon 
the  brown  expanse  of  the  desert, 
about  a  mile  from  town.  They 
were  to  drive,  but  they  did  not 
drive.    No  sooner  had  they  seated 
themselves  in  the  automobiles  than 
the  rain  began  again.     And  this 
time  it  did  not  stop.    There  was 
(Continued  on  Page  61) 


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60 


1 


LOCATION  STUFF 

(Continued  from  Page  60.) 

no  work  that  day.  There  was  no 
rain  the  next  day,  but  there  was  no 
work  either,  for  the  day  was  so 
hot  that  the  film  began  to  run.  The 
makeups  of  the  actors  had  been 
running  from  the  moment  they  had 
put  them  on,  but  it  would  have 
been  possible  to  keep  replacing 
makeup.  There  was  not  the  slight- 
est possibility  of  making  a  picture 
with  running  film. 

So  the  second  day  was  a  dead 
loss. 

On  the  third  day  Wappinger 
managed  to  shoot  two  scenes  on 
the  road  that  led  from  the  town  to 
the  ranch.  He  could  have  shot 
more  had  not  an  assistant  camera 
man  forgotten  to  bring  the  film 
case  and  the  property  man  forgot- 
ten to  bring  the  reflectors. 

To  Mr.  Bloom,  sitting  on  the 
porch  of  the  Metropolitan  Hotel, 
it  seemed  that  the  sun,  which  on 
this  third  day  was  a  big,  red  ball, 
leered  at  him  as  it  dropped  below 
the  horizon. 

Julie  Douglas,  cool  and  in  a 
white,  fluffy  dress  that  made  her 
seem  more  innocent  than  ever, 
pushed  open  the  screen  door,  glided 
across  the  unpainted  floor  of  the 
porch  and  slid  into  a  rocking  chair 
beside  that  in  which  sat  her  em- 
ployer. 

"Nice  evening,"  she  said  prettily. 

"I  see  you  got  over  your  cold," 
returned  Mr.  Bloom,  his  gloomy 
eyes  still  fixed  on  the  sand  and  the 
sage  brush. 

"Why,  I've  had  no  cold,"  she  ob- 
jected. 

"No?"  he  asked,  surprised. 
"No." 

"I  thought  you  had,"  he  said; 
"I  thought  you  had  such  a  bad  cold 
you  couldn't  speak  to  anybody." 

"I  just  said  it  was  a  nice  even- 
ing," she  reminded  him. 

"It  ain't  polite  to  contradict  a 
lady,"  he  grunted. 

"Don't  you  think  it's  a  nice  even- 
ing?" she  insisted. 

He  groaned. 

"Julie,"  he  said,  almost  fiercely, 
"I  don't  know  whether  you're  more 
aggervating  when  you  don't  talk 
about  nothing  or  when  you  do  talk 
about  nothing." 

She  would  not  be  rebuffed,  but 
edging  her  chair  closer  to  his,  she 
asked  sweetly: 

"Things  are  certainly  going  to 
hell  up  here,  aren't  they  ?" 

(Continued  on  Page  62.) 


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In  Common 


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are  in  most  of  their  ideas,  aspirations 
and  habits,  and  yet  how  absolutely 
alike  in  others. 

For  example,  tomorrow  morning,  be- 
tween the  hours  of  6:45  and  7:30,  about 
fifteen  million  men  will  stand  before 
their  mirrors  in  exactly  the  same  pos- 
tures, go  through  the  same  motions  and 
accomplish  about  the  same  results, 
namely:  they  will  cut  down  that  jungle 
of  ugliness  which  is  everlastingly  push- 
ing out  from  a  man's  hide  and  overrunning 
the  attractive  contours  of  his  face. 

With  this  one  difference.  Something 
over  two  million  men  will  enjoy  the 
p'ocess.    The  other  thirteen  million  will 
thin*,  thoughts  they  dare  not  express  unless 
they  are  roagu  and  uncouth,  and  which 
I  cannot  even  hint  at  i.:  *his  public  forum. 

Now,  let's  get  down  to  cases  and  be 
practical  and  factful  about  this  inevit- 
able process  of  shaving. 

We  would  all  do  away  with  it  if  women 
would  let  us.    It  takes  time,  at  the  best  is 
a  nuisance,  and  at  the  worst  is  awful. 

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man  who  uses  it,  Menncn  Shaving  Cream 
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than  anv  other  preparation  ever  invented. 

I  tell  you  that  Mcnnen's  exerts  a 
peculiar  influence  on  a  beard  which 
transforms  its  meanness  into  something 
approaching  benevolence. 

I  tell  you  that  Mennen's  is  so  non- 
irritating  and  so  packed  with  soothing 
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world.    Our  Talcum  for  Men,  by  the 
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irritation — and  soothing  after  a  shave. 

So  buy  them  both — Mennen  Shaving 
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357  Central  Ave. 
Newark  N.J.  U.S.A. 


LOCATION  STUFF 

{Continued  from  Page  6i.) 


"Well,  they  ain't  any  too  good," 
he  conceded  grudgingly,  but  then, 
as  if  ashamed  of  his  confession,  he 
added  sturdily:  "They'll  come  out 
all  right.'* 

She  ignored  this  optimistic  fore- 
cast. 

"You  can  bet  they're  none  too 
good,"  she  said.  "The  way  this 
rancher  is  holding  you  up  is  a 
shame." 

"What  do  you  know  about  me 
and  the  rancher?"  he  asked  sus- 
piciously. 

"Plenty,"  was  her  confident  re- 
ply. "I  know  that  he's  raised  the 
rental  of  his  old  ranch  from  fifty 
to  a  hundred  and  fifty  a  day.  I 
know — •" 

"Maybe  you  know  that  we  ain't 
used  it  at  all  yet,"  he  interrupted. 

"You'll  have  to  use  it  or  pull  up 
stakes  and  go  somewhere  else. 
There's  something  else  I  know. 
This  hotel  guy  is  going  to  raise  the 
rate  on  you  too ;  and  there's  some- 
thing else  I  know — " 

"You  know  too  much,"  he  de- 
clared bitterly.  "If  I  knew  as 
much  as  you  I'd  quit  the  movies 
and  start  a  newspaper." 

"The  something  else  I  know  is 
that  they're  going  to  overcharge 
you  for  the  horses  the  cowboys  are 
going  to  ride,"  she  concluded, 

"You  got  a  fine  idea  of  this  town, 
ain't  you?"  he  asked  sarcastically. 

"About  the  same  as  you  have," 
she  answered  frankly.  "The  only 
difference  is  I'm  not  afraid  to  say 
what  I  think." 

"Julie,"  he  groaned,  "you  ain't 
been  talking,  have  you?  I  mean 
you  ain't  been  talking  to  these 
stingers?" 

She  put  her  hand  on  his  knee. 
"I  have  told  each  and  every  one 
of  them  that  I  mink  he  is  a  petty 
larceny  thief,"  she  said  calmly. 
He  put  his  head  in  his  hands. 
"Julie,"  he  muttered  in  anguish, 
"you  have  certainly  pushed  all  the 
cooks  into  the  broth.    Now  these 
robbers  won't  let  us  shoot  a  foot 
not  if  we  pay  them  a  million  dol- 
lars.   Don't  yoi|  know  better  than 
to  insult  a  thief  by  telling  him  he's 
a  thief?" 

"When  I  saw  the  way  they  were 
'*  framing  to  trim  you  I  couldn't  keep 
my  mouth  shut,"  she  told  him.  "I 
just  had  to  cut  loose.  All  the  prom- 
inent citizens  have  quit  speaking  to 
me,  but  I  don't  care." 


"I  care,"  said  Mr.  Bloom,  his 
head  still  averted.  "Tonight  Mr. 
Norval  Chillingworth  gets  in  here 
from  Hollywood.  Tomorrow  we 
were  going  to  shoot  some  stuff  with 
him  and  you.  Now  I'll  bet  you 
they  won't  let  us  shoot  you  or  him 
or  nothing." 

"Jump  to  some  other  burg,"  she 
suggested  hopefully. 

"I'm  too  much  loser,"  he  con- 
tended. "The  best  thing  I  can  do 
is  pay  these  robbers  what  they  want 
and  shoot  my  stuff  here.  I  said  I 
was  going  to  give  this  young  feller 
the  right  kind  of  locations  to  start 
with.  These  are  the  right  kind  of 
locations.  Even  if  it  almost  breaks 
me  I'm  going  to  keep  my  word." 

The  face  that  he  raised  to  hers 
was  haggard,  but  he  looked  her 
squarely  in  the  eye. 

"Don't  be  a  sucker — "  she  began. 
"I'd  rather  be  a  sucker  than  a 
quitter,"  he  declared,  and  stood  up. 

"I  thought  I  was  doing  the  right 
thing,"  she  said  defensively. 

"I  know  you  did,"  he  answered, 
looking  down  into  her  face,  which 
was  now  as  sober  as  his  own.  "I 
know  your  heart's  in  the  right  place, 
Tulic,  but  sometimes  I  ain't  so  sure 
about  your  brains." 

His  head  was  bowed  as  he  walked 
away. 

Julie  Douglas,  following  him 
with  her  wide,  innocent  eyes,  Was 
sure  that  if  he  had  stayed  another 
moment  he  would  have  cried. 


B 


III. 


OT  Mr.  Bloom  was  not  crying 
an  hour  later  when  with  out- 
stretched hands  he  hurried  down 
the  steps  of  the  hotel  to  welcome  to 
the  hospitality  of  Grandville  young 
Norval  Chillingworth,  who,  in 
motor  coat  and  goggles,  descended 
from  the  big,  yellow  racing  car  in 
which  a  retired  professional  racing 
driver  had  piloted  him  from  Holly- 
wood. 

From  her  observation  post  on 
the  porch  Julie  Douglas  heard  Mr. 
Bloom  say  cheerily: 

"Where's  Julie?  I  want  Mr. 
Chillingworth  to  meet  Julie." 

And  then  she  heard  the  obnox- 
ious Hortense  Hugo  reply: 

"Poor  Julie!  She  was  so  tired 
that  she  went  to  bed  early.  She 
can't  stand  roughing  it  as  well  as 
she  could  once." 

{Continued  on  Page  6j.) 


62 


<  MOUVWOOO  « »UIOMi» 

K3) 


LOCATION  STUFF 

(Continued  from  Page  62.) 


"Cat!"  the  maligned  Julie  had 
said  to  herself  and  strolled  into  the 
lobby. 

When  she  strolled  out  again  Nor- 
val  Chillingworth  was  with  her. 
She  was  a  fast  worker. 

Mr.  Bloom  walked  back  toward 
the  hotel  and  seating  himself  upon 
a  soapbox  in  front  of  the  dark  and 
deserted  Busy  Bee  General  Store 
across  the  street  from  the  noisy 
tavern  began  to  do  some  intensive 
worrying. 

For  Chillingworth  had  told  him 
that  he  did  not  expect  to  work  the 
next  day.  Mr.  Bloom  could  see  that 
bad  as  things  were  before  Chil- 
ingworth  had  arrived  they  were 
due  to  become  much  worse. 

He  stole  a  look  across  the  street 
but  brought  his  eyes  back  quickly 
when  they  fell  upon  Chillingworth 
and  Julie  Douglas  in  whispered 
conference. 

"Two  artistic  tempers  together," 
he  said  to  himself  bitterly,  "  I'd 
give  anything  I've  got,  I'd  give 
anything  I  could  borrow,  to  be 
back  in  Hollywood." 

"Well?"  asked  a  disagreeable 
voice  at  his  elbow. 

He  started. 

It  was  the  voice  of  the  rancher. 

"Well,  yourself,"  answered  Mr. 
Bloom  with  what  courage  he  could 
muster. 

"Stand  up.  I  want  to  talk  to 
you,"  said  the  tanned  and  brawny 
native. 

"I'm  very  comfortable,"  protest- 
ed the  stranger  within  the  gates. 

"Stand  up,"  ordered  the  inflex- 
ible man. 

Mr.  Bloom  obeyed. 

"What's  this  I  hear  about  you 
going  round  town  saying  I'm  a 
robber?"  asked  the  rancher,  plac- 
ing a  ham-like  hand  upon  Mr. 
Bloom's  lapel. 

"I  didn't,"  was  Mr.  Bloom's 
stammering  but  honest  reply. 

"That's  a  lie,"  said  the  other 
briefly,  "and  now  I'm  going  to 
take  you  across  the  street  and 
prove  it." 

Mr.  Bloom  held  back. 

"There  ain't  no  use  of  having 
words,"  he  protested  uneasily. 
"You  could  take  me  across  the 
world  and  you  couldn't  prove  it." 

"The  landlord  says  he  heard 
you,"  said  the  other  and  tightened 
his  grip  upon  Mr.  Bloom. 

"The  landlord  ain't  telling  the 
truth,"  protested  Mr.  Bloom. 


"Come  on,"  ordered  the  other. 
"We'll  see  whether  he  is  or  not." 

He  started  to  drag  Mr.  Bloom 
toward  the  edge  of  the  sidewalk. 

Physical  violence  was  a  thing 
that  Mr.  Bloom  abhorred. 

With  the  hand  which  was  not 
clinging  to  the  lamp  post  he  struck 
out  at  his  tormentor,  then  shut  his 
eyes  and  waited  for  the  worst. 

It  did  not  come. 


Mi 


IR.  BLOOM,  his  fist  and  his 
eyes  shut  tight,  stood  there  and 
waited  for  what  seemed  to  him  to 
be  a  very  long  time.  But  he  open- 
ed his  fist  and  his  eyes  also  when 
he  heard  the  rush  of  feet  on  the 
sidewalk  and  then  the  voice  of  his 
new  leading  man,  pitched  very  low 
but  filled  with  sincerity,  saying: 

"Bill,  if  you  put  a  finger  on  my 
friend,  Mr.  Bloom,  you'll  have  to 
lick  both  of  us." 

The  rancher  whom  the  English 
leading  man  had  addressed  as  Bill 
looked  first  at  Mr.  Bloom,  then  at 
Julie  Douglas  who  had  ranged  her- 
self beside  him,  then  at  Norval 
Chillingworth  who  had  stepped  in 
front  of  Mr.  Bloom.  His  look  at 
Norval  Chillingworth  was  a  long 
look.  It  ended  in  a  laugh  that 
echoed  through  the  street. 

"Well,  if  it  ain't  Elmer  Mason!" 
he  cried,  and  extended  a  brawny 
paw  to  the  favorite  of  Broadway 
and  that  street  in  London  the  name 
of  which  nobody  seemed  able  to 
remember. 

The  metropolitan  favorite  grip- 
ped the  hand  which  only  a  moment 
before  had  gripped  Mr.  Bloom. 

"It's  me,  all  right,"  he  admitted. 
"You're  the  first  one  of  the  old 
gang  I've  seen  tonight." 

Although  the  night  was  cool  Mr. 
Bloom  wiped  his  forehead. 

"The  old  gang?"  he  said  puzzled, 
"Do  you  gentlemen  know  each 
other?" 

They  laughed. 

"This  is  my  home  town."  said 
Norval  Chillingworth  with  a  touch 
of  honest  pride. 

"I  should  say  it  is,"  affirmed 
the  rancher  just  as  proudly.  El- 
mer's folks  own  the  ranch  and  the 
hotel  and  the  horses  and  " 

"You  don't  know  how  I  am  glad 
to  hear  it,"  cried  Mr.  Bloom, 
"Now  it  won't  cost  me  so  much  to 
shoot  the  ranch." 

(Continued  on  Page  64.) 


A  Housewife — 
who  found  that  she  could  do  it 

We  Pay  $1000 

and  Royalties 

for  photoplays  accepted  for  our 
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NOT  long  ago,  Elizabeth  Thatcher,  a  busy  house- 
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~1 


Palmer  Pho'.oplay  Corporation, 

Department  of  Education,  Sec.  2211, 

Palmer  Building,  Hollywood,  Calif. 

Please  send  me  the  Palmer  Questionnaire, 
which  I  am  to  fill  out  and  return  to  you  for 
your  personal  and  subsequent  advice  to  me 
without  charge. 


Name.. 


City-'  State  

AH  correspondence  strictly  confidential 

.  Copyrighted  by  Palmer  Photoplay  Corpora-  , 
I  tion,  Hollywood,  Calif. 


63 


trtscilla  Dean  Tarns  come  in 
two  sizes — one  for  young  ladiWj 
the  other  for  children. 

Twelve  Popular  Shades 
Red,  Pheasant,  Copenhagen, 
Navy,  Black,  Sand,  Jade,  White, 
Orange,  Brown,  Orchid,  Coral. 


For  Every  Occasion 

J  And  you  will,  too,  when  you  see  how  prac- 
!  deal  it  is  and  how  well  it  looks  on  you. 
Priscilla  Dean  designed  this  tarn  for 'the  girl 
who  wants  a  snappy,  well  fitting  and  charm- 
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There's  a  color  to  match  any  sweater  or  any 
costume — and  the  price  is  so  little — $1.50 — 
that  every  girl  should  have  at  least  one 
besides  her  regular  hat.  Makes  a  wonderful 
gift  for  any  woman  or  little  girL 

Priscilla  Dean  Tarns  are  made  of  the  finoi" 
quality  suede  doth — a  soft,  pliable  material 
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Priscilla  Dean  Tarns  Are  Soil 
At  All  the  Best  Stores 

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Tarn  Ti  me 


Look 

fotthe 

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Dean  label 


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Enclosed  is  $i.so  (Canada  f  2.00)  for  which  please 
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MFC'S  of    PRI  SC  I  L L  A  >  DEAN  HATS 


Does  Your  Make-Up  Register? 

When  the  mirror  discloses  that  hateful  shine  upoiTyour  otherwise  per- 
fectly satisfactory  nose,  what  brand  of  face  powder  do  you  dip  your 
powder-puff  into?  That  ornamental  container  on  your  dressing-table — 
what  kind  of  talcum  does  it  contain?  Your  lip-stick  and  rouge  compact — 
why  do  you  prefer  them  above  other  cosmetics? 

Screenland  wants  to  know.  Clip  this  page  and  fill  in  the  answers.  For 
the  best  answer  Screenland  will  give  a  $5  box  of  your  favorite  cosmetics. 
For  the  second  best  answer,  a  $2  box  will  be  the  prize.  All  answers  must 
be  received  by  us  not  later  than  November  1. 

Do  you  buy  advertised  cosmetics  in  preference  to  other  brands?—  

Why?_  _       •  - 


What  brand  of  face  powder  do  you  prefer?-... 

Why  do  you  prefer  it?_     

What  brand  of  talcum  do  you  prefer?  _  

Why?  -  -  -  


Rouge?  


Why: 


Lip  Stick?      Why?_   

Tell  how  you  first  chanced  to  buy  these  products  and  give  proof  why  Screenland  should 
carry  the  advertising  of  these  cosmetics. 

Address  Research  Department 

Screenland.  Hollywood,  California 


Name — 
Address. 

City—..-.. 


State. 


First  prize  in  the  Candy  Prize-Ad  Query  running  in  the  June  Screenland,  a  five-pound 
box  of  Whitman's  chocolates,  was  awarded  to  Mrs.  H.  J.  Davis,  1356  Madison  St.,  Wash- 
ington, D.  C.  Second  prize,  a  two-pound  box  of  Whitman's  chocolates,  went  to  Gruver  Davis, 
care  of  Montague  Manufacturing  Co.,  Richmond,  Va. 


LOCATION  STUFF 

(Continued  from  Page  63.) 

His  new  leading  man  wheeled  on 
him  in  anger. 

"I  ought  not  to  let  you  shoot  it 
at  all,"  he  thundered. 

Mr.  Bloom  shrank  back  against 
his  lamp  post. 

"You  don't  deserve  it,"  cried  the 
leading  man  stepping  close  to  him. 
"How  dare  you  think  that  I'd  let 
you  pay  a  cent?" 

"I  don't  know  how  I  dared," 
Mr.  Bloom  apologized  hurriedly, 
"but  I  don't  think  so  any  more." 

"And  I'll  be  ready  to  work  in  the 
morning,"  his  benefactor  told  him. 
"Just  now  Miss  Douglas  and  I  are 
going  to  take  a  little  stroll." 

"Make  it  a  big  one,"  cried  Mr. 
Bloom  with  enthusiasm. 

He  linked  his  arm  in  that  of  the 
rancher  and  started  across  the 
street  toward  the  hotel.  When  they 
were  half-way  across  he  stopped 
to  wave  his  hand  at  the  girl  whose 
heart  was  in  the  right  place  and 
at  her  companion  who  evidently 
was  beginning  to  make  a  place  for 
himself  in  that  heart. 

"I'll  see  you  anon,"  called  Mr. 
Bloom. 


What  the  FANS  WRITE 
to  the  STARS 

(Continued  from  Page  50.) 

hundred  and  fifteen  pounds,  with 
brown  eyes  and  black  hair.  Every- 
body thinks  I  am  a  fine-looking 
girl.  But  tastes  differ,  don't  you 
think?"  a  North  Carolina  miss  ven- 
tured in  a  "personal"  letter  to  Viola 
Dana. 

The  "fan"  letter  that  got  more 
attention  than  any  which  reached 
the  studios  in  months  came  the 
other  day,  addressed  to  Rupert 
Hughes,  famous  author  and  direc- 
tor at  Goldwyn. 

"I  go  to  see  every  one  of  your 
pictures  and  I  think  you  are  the 
finest  actor  on  the  screen  today," 
was  the  enthusiastic  praise. 


Irresistible  Eyes 

are  those  which  are  Bright 
and  Sparkling.  Keep  Your  Eyes 
Young  and  Beautiful  through  the 
daily  use  of  Murine.  It  ha*  stood 
the  test  of  time.  At  all  Druggists. 

A*  *Y*  ft****  EYES 


64 


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The  STAR  in 
SOCIETY 

(Continued  from  Page  46.) 

the  residence,  dropping  hundreds 
of  flower  bombs  of  roses  and  lilies 
of  the  valley. 

In  the  late  afternoon  a  buffet  tea 
was  served. 

Mr.  and  Mrs.  Pickford  are 
spending  their  honeymoon  at  La 
Siesta,  one  of  the  bungalows  of  the 
Ambassador  Hotel,  where  they  in- 
tend to  remain  until  the  early  part 
of  September,  when  Mr.  Pickford 
will  have  finished  the  picture  he  is 
now  making  and  Mrs.  Pickford  is 
scheduled  to  resume  her  engage- 
ment as  the  star  of  Solly,  They 
will  then  leave  for  New  York,  and 
are  planning  to  wait  until  the  last 
minute  and  fly  back  by  aeroplane. 


Give 
Festive 
Party. 


A ROLLICKING 
affair  was  the 


"Days  of  Forty-five" 
party  staged  on  the 
night  of  August  i2th  at  one  of  the 
deserted  studios  in  Culver  City. 
Genial  hosts  of  the  occasion  were 
John  B.  Ritchie,  Milton  Sills,  Theo- 
dore Roberts,  Douglas  McLean, 
Raymond  Hatton,  King  Vidor, 
Lambert  Hillyer,  Hunt  Stromberg, 
Mahlon  Hamilton  and  '  James 
Home,  and  the  guest  of  honor  was 
Miss  Bradley  King,  continuity 
writer  of  the  T.  H.  Ince  Studio. 


At  the 
Opera. 


MISS  GLORIA 
SWANSON  was 
a  much-admired  figure 
in  one  of  the  boxes  at  the  recent 
outdoor  production  of  Carmen 
given  in  the  Hollywood  Bowl.  She 
reminded  one  of  a  Russian  prin- 
cess with  her  long  ermine  cape 
thrown  back  across  her  shoulders, 
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gown  of  white  satin  and  the  gor- 
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platinum  which  she  was  wearing. 
Low  across  her  forehead  she  wore 
a  white  bandeaux  of  Russian  de- 
sign and  studded  with  brilliants 
and  pearls.  In  the  next  box  Harold 
Lloyd  entertained  a  party  of 
friends,  having  as  honor  guest  Miss 
Mildred  Davis. 

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65 


(ihe<Magic 
difference 

few  years  ago  any  picture  that  moved  on  a  screen  fasci' 
nated  people. 

Remember  your  excitement  the  first  time  you  saw  a  man 
actually  walking  in  a  picture,  moving  about ! 

Today,  it  is  not  bodies  alone  that  you  want  to  see  moved, 
but  hearts. 

Here  is  Paramount^  magic  difference  — the  magic  of  the 
world's  best  picture^making  that  has  made  the  Paramount  mark 
a  treasure-trove  Xo  find  in  any  theatre  lobby  any  day  of  the 
week  when  you  are  seeking  entertainment.  * 

Paramount  stories,  Paramount  stars,  Paramount  directors, 
and  all  the  sumptuous  riches  of  Paramount  equipment — this 
is  the  eternal  name  that  makes  a  theatre  a  good  place  to  go, 
and  a  reluctant  one  to  leave ! 

*  Millions  of  dollars  and  months  of  concentrated  artistic  labor 
have  been  expended  in  making  the  Paramount  Pictures  re- 
leased in  October,  as  listed  alongside. 

Each  one  of  them  is  a  treasure  mine  of  wonderful  enter- 
tainment, of  thri  Is,  of  romance,  of  warm,  human  heart- 
interest,  of  spirited  action,  of  the  last  word  in  luxurious 
setting. 

Find  out  when  they  will  be  shown  at  your  theatre. 

&cuxuruHint 

If    it's    a    Paramount    Picture    it's    the    best   show    in  town 


When  are  these  coming  ? 
Use  the  'phone! 


"The  Old  Homestead" 

■with  Theodore  Roberts 

George  Fawcett 
Absolutely  one  of  the  T.Roy Barnes 
greatest  motion  pictures  PamS?/ord 
evermade.Don'tmissit. 

Adapted  from  Denman  Thompson 's  play  by  Perley  Poore 
Shechan  and  Frank  Woods.  Scenario  by  Julien  losephsan. 
Directed  by  James  Cruze. 


Wallace  Reid  in 

"The 
Ghost  Breaker 

supported  by 

Lib  Lee  and  Walter Hiers 

the  beginning  of  the  plot,  and 
into  great  adventure. 

By  Paul  Dickey  and  Charles  W. 
by  Jack  Cunningham.  Directed  by 


The  scene  is  Old 
Kentucky.  Wallace 
Reid  is  the  last  of  an 
ancient  family.  Over 
in  Spa  in  there's  a  girl 
who  possesses  noth- 
ing but  intoxicating 
beauty  and  a  haunted 
castle.  Howandwhy 
she  and  he  meet  is 
thereafter  it  thickens 

Qoddard.  Adaptation 
Alfred  Green. 


A  new  and  strik-  ^ftwrtynStais^jvoduction 
ing  type  of  melo-  Pfnk  Gods" 


drama  set  in  the 
South  African 
diamond  mines. 

By  Cynthia  Stockley.  Adap- 


tation by  J.  E.  Nash  and  Sunya  Levicn. 


■with  Bebe  Daniels, 
James  Kirkwood 

Anna  Q  Mlsson 

and  Raymond  nation 


at 


A  George  Mel  ford  production  ^ 

"Startling  Sands 

with  Wanda  Hawley,  Milton  Sills 

^  ,  j    Robert  Cain 

The  man  who  directed  and 
"The  Sheik"  directed  this    Jaqueline  Logan 
picture.  "Burning  Sands" 
is  a  man's  answer  to  "The  Sheik."  The  lov- 
ers are  Milton  Sills  and  Wanda  Hawley,  and 
they  dare  everything  for  each  other's  sake. 

By  Arthur  Weigall.  Adaptation  by  Olga  Prinulau. 
Scenario  by  Julien  Josephson 

„      A  George  Fitimaurice  production 

TbHave  andToJiold 

W,TH  Betty  Compsonand  Bert  Lytell 

supported  fy  Theodore  Kashff.  W.J  Ferguson 

Raymond  Hatton  and  Waller  Long 

Action,  love,  suspense,  fights,  blowing  up  a  ship, 
beauty,  bloodshed,  comedy,  marvelous  sets,  a  battle 
between  a  man-o'-war  and  a  pirate  ship;  great  swords- 
manship, gowns  that  it  took  sixty  dressmakers  a 
month  to  prepare,  startling  photography,  more  ro- 
mance, more  suspense,  more  action — 
By  Mary  Johnston  Scenario  by  OuiJa  Bergere 

To  set  a  new  stand- 
ard of  thrills  in  a 
Western  picture  is 
a  considerable 
achievement  and 
that  is  exactly  what 
you  have  here. 

From  the  play  by  Clyde  Fitch 
Directed  by  Charles  Maigne 

'VheSaceintheToq" 

by  Jack,  Boyle 
Directed  by  Man  Cropland    Created  by  Cosmopolitan 

The  cast  is  the  best  indication  of  what  to  expect  from 
this  picture:  It  includes  Lionel  Barrymorc  as  Blaclcic 
Dawson,  the  gentlemanly  safe  cracker.  Louis  Wol- 
heim.  Lowell  Sherman,  Seena  Owen,  Mary  Mac- 
Laren,  Geo.  Nash,  Gustave  von  Seyfertit:,  and  Macy 
Harlan.  ■ 


*TheGwboyB 
and  f  fie  lady 

WITH 

yMaryJfilesJiinter 
A«t>  Tom  Moore 


FAMOUS  PLAYERS- LASKY  CORPORATION 

ADOLPH  ZUKOR.  President 


You  may  have  seen  all  the 
great  spectacle  pictures  made 
sofar.butyoustill  havesomc- 
J3^\  thing  coming  to  you.  50,000 
Indian  natives  in  the  cast. 


*  Above,, 
AH  Law' 

A 

HAMILTON  THEATRICAL 
CORPORATION  PRODUCTION 


66 


"  'Darling,'  he  said,  and  his  fine  resolu- 
tions fled  to  the  winds,  while  his  deep  voice 
was  hoarse  and  broken.  'My  darling! — 
God  I  I  love  you  so — beyond  all  words  or 
sense — Oh,  let  us  be  happy  for  this  one 
night — we  must  part  afterwards,  I  know, 
and  I  willaccept  that — but  j  ust  f  or  tonight 
there  can  be  no  sin  and  no  harm  in  being  a 
little  happy — when  we  are  going  to  pay  for 
it  with  all  the  rest  of  our  lives.  Let  us  have 
the  memory  of  one  hour  of  bliss — the 
angels  themselves  could  not  grudge  us 
that.'" 


Scene  from  Paramount  photoplay  "Beyond  the  Rocks' 


The  perfect  lover,  a  splendid  romantic  actor  with  every 
characteristic  indicating  the  polish  of  nobility — such 
a  man  must  be  the  gallant  Lord  Bracondale  who  sways 
Theodora. 

*  nd  so  they  chose  Rodolph  Valentino  for  the  role.  And 
/\   opposite  him  they  cast  Gloria  Swanson,  for  her  beauty, 

"Eer  excellence  in  scenes  of  emotion  and  her  ability  to  wear 

gorgeous  gowns. 


I 


I"  you  enjoyed  their  portrayal  of  a  great  love  on  the  silver 
screen,  how  much  more  anxious  you  will  be  to  read  the 


intense  love  story  just  as  Elinor  Glyn  penned  it,  in  Paris 
and  the  lovely  gardens  of  Versailles.  Screenland  has  a 
copy  of  this  book  for  you — free. 

a  ll  you  have  to  do  to  secure  this  novel  is  to  fill  out  and 
/V  mail  the  attached  coupon,  with  $2.50  for  a  year's 
subscription  to  Screenland.  Then  for  a  whole  year  Holly- 
wood and  the  fascinating  world  of  the  studios  will  be 
brought  to  your  door.  You  will  enjoy  all  the  intriguing 
gossip  and  you  will  peep  into  the  real  life  of  the  film 
colony.  And  in  addition,  without  cost  of  one  penny,  you  will 
receive  this  gripping  novel,  illustrated  from  the  photoplay. 


-COUPON  ■ 


FREE 


Circulation  Manager,  SCREENLAND,  Hollywood,  California: 

Please  send  me  FREE  one  copy  of  Elinor  Glyn's  novel  "Beyond  the  Rocks"  with  one  year's 
subscription  to  SCREENLAND,  for  which  I  enclose  $2.50. 

NAME  ADDRESS  

CITY  STATE  


I  from  HOL 


L 


mro 


5  Cents 


f 


/Mvygw  'Ziobel 


pixblisHer 


IS  NUDITY  IMMORAL? 


CULTINE  FRANQALTE 

313  WE7T  Qfh- 

2nd  EDITION 

"The  PFhirl  of 
V\(ew  Tork 

A  Sparkling  and  Brilliant 
Revue 

New  Costumes 
New  Chorus 
t        New  Features 


For  Reservations 
Phone 
Pico  2837 


-featuring 

The  LAUGHLINS 

"JUNE  and  JACK" 

 The  Jxtontmarte 


-4- 


(MO-MART) 

IN  HOLLYWOOD 

The  Rendezvous  of  Screen  Celebrities    About  December  27th — Watch  for  Date 


V  \ 


IRRESISTIBLE  COMPLEXION  CHARM 

VIA 

BONCILL  A 

Facial  Pack 

Boncilla  Beautificr  (Clasmic  Pack)  is  different.    Its  action  goes  to  the 

very  depth  of  the  pores.    It  is  easy  and  pleasant  to  use. 

So  restful  and  refreshing.    Results  from  the  very  first  application. 

Just  cover  the  face  with  this  clasmic  mask  and  rest,  read  or  go  about 

vour  work  while  its  soothing  elements  revitalize  and  rejuvenate  the 

'muscles  and  tissues  while  it  cleanses  the  pores  and  brings  your  natural 

beauty  to  light. 

Boncilla  Beautificr  is  guaranteed  to  do  these  definite  things  for  the  face 
or  vour  money  will  be  refunded. 

1.  Clear  the  complexion  and  give  it  color. 

2.  Cleanse  and  close  enlarged  pores. 

3.  Remove  blackheads  and  pimples. 

4.  Lift  out  the  Lines. 

5.  Rebuild  drooping  facial  tissues  and  muscles. 

6.  Make  the  skin  soft  and  smooth. 


Obtain  this  "Package  O'  Beauty" 

It  comprises  the  complete  "Boncilla  Pack" 
and  contains  enough  for  3  or  4  facials.  Go  to 
your  nearest  drug  or  department  store  for  it 
or  send  the  coupon  with  50  cents  to  us  and 
we  will  send  it  by  return  mail  postpaid.  Be 
sure  to  get  Boncilla  Bcautilie.r — the  genuine 
and  only  clasmic  pack. 


1 


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V- 


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J 


Boncilla 
Laboratories, 

443  E.  South  St.. 
Indianapolis.  Ind. 
I  enclose  50  cents. 
Please  send  me  by 
return  mail,  postpaid, 
your  Famous  Boncilla 
'Package-O-Beauty.' 

Name   •  

Address   

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Screen  2/23 


What  Is  the  TITLE  of  This  PICTURE? 


$200  in  CASH  PRIZES  $200 


For  the  Eight  Best  Titles 


Non-subscribing  contestants  for  the 
title  contest  may  win  : 

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Second  "    5.00 

Third     "    2.00 

Fourth    "   1.00 


If  you  send  in  with  your  answer  one 
dollar  for  a  six-month  trial  subscrip- 
tion to  SCREENLAND,  you  may 
win : 

First  Grand  Prize  $100.00 

Second  "         "    50.00 

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SET  YOUR  BRAIN  A- WORKING! 

You  have  a  good  line!  What  does  this  picture,  posed  by  Shannon  Day, 
suggest  to  you?  Write  out  your  suggestions  for  a  clever  title  to  this  picture 
— as  many  as  you  choose,  on  separate  sheets  of  paper— and  mail  them  in  to 
the  contest  editor.  Be  sure  your  name  and  address  are  on  each  sheet.  En- 
velopes should  contain  nothing  but  your  address  and  your  titles,  unless  you 
wish  to  compete  for  the  GRAND  PRIZES,  headed  by  a  first  prize  of  $100. 
To  be  eligible  for  these  big,  worth-while  prizes,  enclose  a  one-dollar  bill  or 
money-order  or  your  personal  check  with  your  title  suggestions. 

The  titles  to  the  picture  shown  above  may  be  original,  or  may  be  quoted 
from  some  well-known  author.  It  should  not  contain  more  than  20  words. 
"Brevity  is  the  soul  of  wit.''    Make  your  titles  short  and  snappy. 

The  contest  will  appear  in  four  more  issues  of  SCREENLAND  and  will 
close  on  Mav  1.  1923.  The  winning  titles  will  be  selected  by  members  of 
SCREENLAND'S  staff  and  their  decision  will  be  final.  The  winners  will  be 
announced  as  soon  as  possible  after  the  closing  of  the  contest  and  checks  will 
be  mailed  to  the  winners  simultaneously  with  the  announcement  of  the  award. 
If  duplicates  arc  received  for  any  winning  answer,  both  contestants  will  receive 
full  prizes. 

Members  of  SCREENLAND'S  staff  are  not  eligible  for  this  contest. 

I 


SCKEENLAND  TITLE  CONTEST  EDITOR,  22.3, 
Hollywood,  California. 

This  subscription,  for  the  next  six  issues  of 
SCREENLAND,  for  which  I  enclose  one  dollar,  en- 
titles me  to  compete  for  the  grand  prize  offer  in 
SCREENLAND.  The  titles  I  submit  for  the  photo- 
graph of  Shannon  Day  are  enclosed  herewith. 


Name  -  .  

Address   

City    State. 


Every  contestant  who  sends 

|  in  a  subscription  to  this  contest 

|  will  receive  an  autographed  pho- 

.  tograph  of  the  lovely  model  for 

I  the  title  picture.  Miss  Shannon 

I  Day,  as  reproduced  above.  At- 

I  tach  your  dollar  to  your  title 

|  and  send  it  in  TODAY,  with  the 

■  attached  coupon. 


Tomorrow 

Illusions 

A  Star  That  Murdered 
A  Public  Trust 

 WITH  APOLOGIES  TO  NO  ONE  

(Copyright,  1922) 

Illu  SION  is  a  precious  thing.  Reali- 
ties crowd  our  lives,  hem  us  in,  keep 
our  feet  stuck  in  the  clay.  On  the 
wings  of  Illusion  we  fly  into  the  Land 
of  Things  As  We  Would  Like  Them 
to  Be. 

The  greatest  creator  of  illusions  in 
our  everyday  existence  is  the  Motion 
Picture.  The  screen  star  of  Tomor- 
row will  realize  the  debt  he  owes  to 
his  public  as  a  creator  of  illusions. 


A  STAR  may  simply  slip  gradually 
off  the  pedestal  erected  for  him  by 
an  adoring  public,  without  creating 
much  excitement.  But  sometimes  the 
star  commits  a  great  crime,  and  the 
public  in  shocked  sorrow  has  to  hurl 
him  from  the  heights.  This  crime  is 
the  murdering  of  the  public's  illusions, 
the  unpardonable  sin. 


E  MAY  say  that  the  stars  have  a 
right  to  their  private  lives;  that  they 
are  not  the  custodians  of  the  morals 
of  their  public.  But  the  larger  view- 
point is  that  if  the  star  accepts  star- 
dom, with  all  that  it  implies,  he  has 
no  right  to  betray  the  trust  which  the 
public  places  in  him. 


A) 


.NOTHER  star  has  shot  high  in 
the  firmament  of  public  adulation — 
and  fallen.  For  years  his  name  has 
been  a  synonym  for  debonair  mascu- 
line charm.  His  fresh  boyishness  is 
enshrined  in  millions  of  feminine 
hearts,  not  doing  them  any  harm,  but 
rather  making  up  to  them  for  the 
emptiness  of  their  own  lives. 


T 


HAT  star  has  two  great  crimes  to 
answer  for.  He  has  killed  himself  (as 
a  star),  and  he  has  killed  the  illusions 
of  the  public,  which  is  worse.  The  pub- 
lic has  watched  with  incredulous  hurt 
the  slow  breaking-down  of  that  mag- 
nificent physique;  has  watched  the 
dulling  eye,  the  drooping  mouth,  the 
world-weariness  stamped  on  the  whole 
face  and  figure  of  this  one-time 
apostle  of  romantic  youth.  The  star, 
ill  now,  has  reached  the  end  of  the 
labyrinthine  maze  of  fame  and  popu- 
larity. He  is  standing  now  in  the  in- 
nermost chamber,  face  to  face  with 
the  gargoyle  of  Public  Death. 

Entered  as  second-class  matter  at  the  post- 
office  at  San  Francisco,  California. 


q  Gloria  startles  blase  Hollyvvoodites  by  wear- 
ing a  new  makeup  nowadays  of  olive  pow- 
der, the  better  to  illuminate  her  exotic 
appeal.  Portrait  by  Donald  Biddlc  Kcycs. 


is 


T/r'   radiance   of   Betty   Blythe's  personality 
survives    the   pulse-stilling    process    of  por- 
traiture.   Her  pictures  always  breathe    .  . 
and  often  arc  breath-taking. 

Portrait  by  Edwin  Bower  Hcsser. 


iHi 


ft 

ill 

li 


--Ate 


<S  Artists  z«'<?'z/<-  seen  never,  never  looked  this.  But  if  the 
picture  Ruth  Clifford  is  going  to  paint  is  half  as  lovely  (is  the 
artist,  if  has  our  vote  for  a  place  in  the  Salon. 

Portrait  by  Alfred  Cheney  Johnston. 


«|  Claire  Windsor's  blonde  beauty  triumphs 
even  over  the  latest  dictum  of  fashion 
from  Paris,  the  harem  drape. 

Portrait  by  Clarence  S.  Bull. 


1  mOUVWOOO  CALtfORNIA, 


Qci  B5  68319 


he  Most 


tar  in 


A  Famous  Artist's 
Mary  Pick  ford,  Pola 
Schoo  I  girl  as  the 
ty  Types. 

By  Yenrhyn 


H"' There  is  the  loveliest 
creature  I  have  ever 
seen!"  exclaimed  Elinor 
Glyn  one  night  at  a  Hol- 
lywood ball.  Director 
Stan  laws  agreed  with 
Madame  Glyn.  So  Mar- 
jorie  Fayre,  this  maid  of 
14,  was  selected  by  him 
as  a  perfect  "American 
thoroughbred"  type.  Her 
screen  debut  is  in  the  next 
S  tan  laws  production, 
Singed  Wings. 


«J  "lJola  Negri  stands  at  the  head  of  the  group  portraying  vibrant,  magnetic 
anneal.    Her  drooping  eyelids  conceal  hidden  fires.' 

Jr "  '     -'  ■  Paramount  photograph  by  Kcyes. 


It  is  not  the  modeling  of  a  head  or 
the  shape  of  individual  features  alone 
that  make  beauty.  Color  and  expres- 
sion are  important  qualities  that  go  to 
make  up  the  ensemble  before  which 
we  bow  down  and  worship.  These 
latter  qualities  are  of  such  an  ephem- 
eral character  that  they  cannot  be 
included  in  a  cold  appraisal  of  face 
and  form. 

Mary  Pickford  is  America's  ideal 
of  perfection.  Her  features  are  so 
good  individually  and  as  a  whole  that 
she  is  regarded  as  a  perfect  beauty. 
Illumined  by  an  expression  of  spirit- 


uality, which  cannot  be  measured  or 
compared,  she  is  undoubtedly  entitled 
to  the  distinction  that  has  come  to  her. 

Vibrant,  magnetic  physical  charm 
motivates  other  beautiful  faces.  Pola 
Negri,  among  stars  of  the  screen, 
stands  at  the  head  of  this  group.  Her 
drooping  eyelids  conceal  hidden  fires. 
Her  eyes,  well  formed  and  finely  col- 
ored, are  pools  of  emotion,  containing 
the  lurking  hint  of  mysticism — the 
spell  of  the  occult. 

There  is  still  another  distinct  type 
among  film  beauties.  In  this  group 
we  find  Mary  Miles  Minter,  Wanda 


Hawley  and  Mae  Murray.  It  is  the 
Dresden  china  type. 

It  is  a  great  pity  that  Mae  Mur- 
ray's delicate  coloring  is  not  photo- 
graphable.  It  would  greatly  add  to 
her  attractive  screen  personality,  with 
her  exquisitely  modeled  nose  and  sen- 
sitive mouth. 

WaNDA  HAWLEY'S  fine  com- 
plexion also  would  add  to  her  charm 
if  it  could  reach  the  screen.  She  has 
eyes  that  twinkle  with  merriment 
one  moment  and  well  up  with  great 
tears  the  next.  She  has  a  charming, 


46 


MOiiVWOOD  CALIFORNIA 


B 


EAUTIFUL 


thT^JorZJ 


Reasons  for  Selecting 
N egri  and  an  Unknown 
Screen  s  Leading  Beau- 


Stanlaw  s 


«J  "America's  Sweetheart.   Her  features  are  illumined  by  an  expression  of 
spirituality  -which  cannot  be  measured  or  compared." 

Photograph  by  M elbmirnc  Spun: 


piquant  nose  and  blonde  hair  that 
just  suits  her  peach-and-cream  com- 
plexion. 

The  eyes,  nose  and  mouth  of  JVliss 
Minter    are    all    exceptionally  well 
-modeled.    All  her  features  are  much 
above  the  average  and  they  give  an 
effect  of  daintiness. 

The  indefinable  quality  of  expres- 
sion which  makes  some  rather  plain 
faces  convey  the  impression  of  beauty, 
is  an  acquisition  of  Colleen  Moore. 
Hers  is  a  story-telling  face.  It  is 
constantly  conveying  impressions  ; 
thoughts  fleeting  like  the  rapid  turn- 
ing of  pages.    Her  face  is  never  still 


long  enough  to  be  really  analyzed,  but 
one  feels  its  decided  charm. 

The  mobility  of  Phyllis  Haver's 
features  and  her  vivacious  expres- 
sions comprise  her  greatest  charm, 
although  her  facial  contour  is  appeal- 
ing in  itself. 


IOLA  DANA  has  attractive  eves 
and  a  delightful  little  mouth.  Her 
face  is  square  but  of  pleasing  contour. 
Her  sister,  Shirley  Mason,  has  a  face 
that  looks  as  if  it  were  chiseled  by  a 
sculptor — and  a  good  sculptor  at  that. 
Her  profile  is  beautifully  modeled  and 
the  mouth,  chin  and  frontal  bones  of 


1*7 


the  face  delightfully 
proportioned.  In  other 
words,  each  feature  be- 
longs to  the  other. 

In  the  upper  part  of 
Ruth  Roland's  face  lies 
her  greatest  charm.  It 
is  expressed  in  a  charm- 
ingly proportioned  nose, 
intelligent  and  finely 
formed  forehead  and 
well  placed  eyes. 

The  Talmadge  sisters 
have  a  just  claim  to 
beauty.  Constance  has 
eyes  that  are  beautifully 
placed  and  finely 
formed,  and  she  carries 
her  head  with  real  grace. 
Norma  Talmadge  has 
eyes  quite  different  from 
those  of  her  sister,  but 
as  well  placed  and 
formed.  The  contour 
of  her  face  is  effective. 

Beautiful  eyes,  even 
with  irregular  features, 
are  appealing.  In  the 
face  of  Bebe  Daniels  it 
is  easy  to  select  the  eyes 
as  her  best  feature.  She 
also  has  the  crowning 
glory  of  a  beautiful 


q-'The  charm  of  irregularity  of  q  "  There  is  a  .strange  charm 

feature  is  emphasised  in  Gloria  lite  wonderment  of  Betty  C  omf- 

Swanson.    Her  face  possesses  sou's  eyes.  Her  face  is  artts- 

extraordinary  fascination."  tieaUy  shaped  and  well  mocl- 

Paramount  photo.  eleiL  ' 

Phatayrath  !>.:  Donald  Kiddie  Keyes. 


'  KOtlVWOOD  CALIFORNIA 


woman— lovely  hair,  soft,  black,  thick 
and  luxuriant,  contributing  to  a  de- 
lightful ensemble. 

TThE  charm  of  irregularity  of  fea- 
ture is  emphasized  in  such  a  type  as 
Gloria  Swanson,  all  the  features  mak- 
ing a  face  of  extraordinary  fascina- 
tion. Miss  Swanson  also  has  lovely 
arms  and  neck. 

Little  Miss  McAvoy  has  an  exceed- 
ingly well  proportioned  face  and  a 
beautifully  modeled  head.  Her  eyes 
and  mouth  are  particularly  attractive. 

The  wonderful  moist  eyes,  very 
fine,  silky  hair  and  sensitive  eyebrows 
of  Anita  Stewart  make  her  a  woman 
of  surpassing  charm.  Nazimova's 
eyebrows  are  a  distinctive  feature. 
She  has  a  remarkable  control  of  the 
muscles  of  the  brow  which  enables 


<5  Constance  Talmadge  has  a 
just  claim  to  beauty  and  she 
carries  her  head  with  real 
grace,  Director  Stanla-ws 
points  out.  Her  pose  in  this 
picture  affords  a  curious 
study  and  an  interesting 
comparison  -with  the  portrait 
of  Marjoric  Fayre,  the  four- 
teen -  year  -  old  H oily-wood 
heauty. 

Photograph  by  Melbourne  Sfurr. 


her  to  express  herself  with  her  eye- 
brows as  other  people  do  with  words. 

A  finely  formed  forehead  gives 
Clara  Kimball  Young  an  intellectual 
appeal  and  her  features  are  softened 
by  nice  hair.  Enid  Bennett  also  has  a 
fine  expressive  forehead  of  the  intel- 
ligent beauty  type.  Her  eyes,  though 
a  trifle  heavy,  are  large  and  well 
placed. 

There  is  a  strange  charm  in  the 


19 


•J  This  camera  study 
of  May  McAvoy 
created  a  stir 
among  staid  Lon- 
don beauty  lovers 
when  it  was  ex- 
hibited at  the  Lon- 
don Salon  of  Pho- 
tography in  1922. 
Photograph  by  James  N. 
Doolittle. 


wonderment  of  Betty  Compson's  eyes. 
Her  whole  face  is  artistically  shaped 
and  exceptionally  well  modeled,  par- 
ticularly the  chin  and  jaw-bone.  Her 
head  is  small  and  gracefully  erect. 

Something  statuesque,  that  chal- 
lenges description,  is  seen  in  the  way 
Betty  Blythe  carries  her  head.  The 

?0 


most  beautiful  and  expressive  fea- 
tures are  contained  in  the  upper  half 
of  her  face. 

Claire  Windsor's  features  by  them- 
selves lack  perfection,  but  they  are  a 
striking  example  of  the  harmony  of 
features.  The  result  is  a  feeling  of 
very  decided  beauty. 


LlLA  LEE  has  lovely,  expressive 
eyes  and  her  nose  and  mouth  are  in 
harmony  with  them,  giving  her  face  a 
great  appeal. 

Agnes  Ay  res  has  a  beautiful  com- 
plexion, and  although  the  facial  bones 
are  too  prominent,  her  featujjS^Tare  so 
beautifully  modeled  and  a    r ranged  as 


•«U»WOOO  CALIfOKNtA 


p  HP* 


«  "Shirley  Mason  has  a  /«v  that  looks  <u  f/r<m<//f  «<  wre  chiseled  fry  a 
sculptor.  Each  /^furc  for  fo*gw  f«  the  other.  Photograph  by  kvans. 


to  make  up  a  face  far  above  the  aver- 
age in  beauty.  She  also  possesses  an 
appealing  freshness  and  frankness 
that  enhances  her  attractive  qualities. 

The  American  public  prefers  types 
of  womanhood  that  express  the  high- 
est culture  and  refinement.  This  pref- 
erence, which  always  existed,  is  be- 
coming more  apparent  in  the  ideals 
shown  in  paintings  and  in  magazine 
and  book  illustrations.  Bizarre  types 
have  their  vogue  but  the  "American 
thoroughbred"  girl  is  at  all  times  the 
favorite. 


Miss  Marjorie  Fayre,  a  Hollywood 
school  girl  only  fourteen  years  old, 
possesses  an  almost  perfect  Grecian 
profile.    She  has  made  her  debut  on 
the  screen  and  has  proven  that  she 
possesses  rare  photographable  quali- 
ties. Watching  a  beautiful  young  girl 
emerge  from  the  promise  of  life's 
springtime  to  the  full  bloom  of  exqui- 
site womanhood  is  a  fascinating  privi- 
lege.    As  Miss   Fayre  unfolds  her 
beauty  and  dramatic  talent,  playgoers 
will  witness  this  unfoldment  of  a  real 
flesh  and  blood  "American  thorough- 
bred." 


I 


q  "It  is  a  great  pity  that  Mae 
Murray's  delicate  coloring 
is  not  photographable.  It 
would  add  greatly  to  her  at- 
tractive screen  personality." 

Metro  photo. 


(?  MOU.VWOO0  CALirOtlNIA 


en  is 


Nudity 

*Jlt  Is  Largely  a 

Alma 


Dolly  BeaUe,  a  Mack  Sennctt  girl  (left) 
shows  the  type  of  bathing  suit  barred  by 
screen  censors,  while  Viora  Daniels  of 
Christie  Comedies  (right)  appears  in  a 
costume  permitted. 


M  ODESTY  and  immodesty  are 
strictly  feminine  nouns.  In  French  all 
nouns  are  either  masculine  or  femi- 
nine. They  leave  no  doubt.  So  any 
male  who  exhibits  either  of  these 
traits  is  just  plain  effeminate. 

But  who  cares  a  whoop  about 
masculine  modesty  anyway  ? 

The  only  seething,  palpitating  ques- 
tions that  rock  the  pulpits,  stagger 


the  Puritans  and  boggle  civilization 
are  those  appertaining  to  feminine 
modesty. 

Civilization  has  been  alarmingly  im- 
periled about  once  a  year  since  its  in- 
fluential inception — and  always  by  fe- 
male clothing.  The  way  civilization 
stands  up  against  this  persistent  and 
frightful  jeopardy  is  most  commenda- 
ble.    By    every   logical    theory,  it 


should  have  fizzled  back  into  barbar- 
ism centuries  ago. 

Civilization  is  even  now  recovering 
its  equilibrium  after  the  last  shock  of 
the  short  skirts.  Woman,  the  hussy, 
actually  showed  her  legs,  shamelessly 
proclaimed  to  a  startled  masculine 
world  that  she  not  only  had  knees  but 
didn't  care  who  knew  it. 

And  that  wasn-'t  all — she  exposed 


22 


Immodest? 


Matter  of  Tact  Says- 

Whitaker 


her  whole  jolly  backbone  with  fright- 
ful audacity  just  when,  drat  her,  it 
would  have  been  so  much  more  seemly 
to  imply  that  she  hadn't  any  back- 
bone. .  -  ,T 

No  wonder  the  pulpits  raged.  JNo 
wonder  civilization  tottered.  But, 
thank  Heaven,  dear  old  Paris  rushed 
to  the  rescue  in  the  nick  of  time. 
France  has  saved  civilization  a  good 
many  times,  her  most  recent  and  nota- 
ble achievement  being  at  Verdun.  But 
that  service  was  as  nothing  to  the 
noble  triumph  of  her  fashion  de- 
signers who  got  together  and  banished 
the  short  skirt,  shrouded  female  backs 
and  generally  issued  the  ultimatum  to 
femininity,  "Beyond  this  thou  shalt 
not  pass." 

HlTRRAH  for  Paris!  Civilization 
may  now  feel  as  safe  as  she  was  under 
the  succession  of  the  Louis  in  France, 
under  Charles  in  England,  those  jolly 
periods  when  ladies  wore  lots  of  cloth- 
ing, bunches  of  petticoats,  and  of 
which  Samuel  Pepys  and  the  Count 
de  Grammont  wrote  so  engagingly  and 
ingeniously  that  we  moderns  are  only 
permitted  to  read  the  expurgated  edi- 
tions. 

Oh,  you  can  see  for  yourself — 
Modesty  is  exclusively  a  question  of 
female  covering. 

Of  course,  we  have  Du  Maurier's 
word  for  it  that  "Trilby"  was  so  in- 
nately modest  that  she  could  stand  be- 
fore an  art  class  in  Paris  stark  naked 
and  so  blissfully  unconscious  that  she 
pervaded  the  whole  atelier  with  a 
sense  of  super-modesty.  A  stunt,  by 
the  way,  that  Paris  seems  unable  to 
repeat  today,  where  the  stage  is  inun- 
dated with  a  stream  of  "Trilbys"  pos- 
ing in  the  altogether — which  isn't  hav- 
ing the  same  effect  at  all.  If  only 
these  modest  nude  charmers  would 
keep  to  the  ateliers  now.       .  . 

All  the  same,  drapery  doesn't  en- 
tirely meet  the  bill. 

For  instance,  if  even  the  most  mod- 
est of  modern  dames — the  ones  who 
still  cling  to  long-sleeved  nightgowns 
and  blind  embroidery  by  night  and  at 
least  two  petticoats  by  day — elected 
to  appear  in  public  in  these  wholly 
decorous  garments,  minus  a  shroud  of 


«J  In  the  realm  of  Art,  the  nude 
or  scantily  draped  female  fig- 
ure is  regarded  as  modest  as 
the  pictures  to  be  found  in 
every  family  album. 

Paramount  photo. 


some  sort  with  a  more  godly  name— 
her  reputation  would  be  blasted  for- 
ever. 

Or  take  that  amply  skirted  full 
bathing  suit,  which  is  the  furthermost 
pink  of  propriety  at  the  beach,  and  let 
her  wear  it  at  even  a  Hollywood 
pai-ty — unless,  of  course,  it  was  prop- 
erly labeled  a  fancy-dress  affair — 
what  would  you  think  of  the  lady's 
morals  ? 

In  fact,  there  is  a  natty  little  one- 
piece  suit  that  Mrs.  Grundy  has  en- 
dorsed for  beach  wear  for  some  time 
now,  that  begins  late  and  ends  quite 
early  and  permits  quite  an  amazing 
amount  of  female  territory  to  be  ex- 
posed. Swim  in  it  and  your  modesty 
remains  intact — stroll  down  Broadway 
in  it  and  Modesty — in  the  guise  of  a 
shuddering  policeman — will  promptly 
rush  to  the  rescue  of  civilization. 

I  ONCE  witnessed  a  ceremony  in 
which  the  bride  was  attired  solely  in 
a  bead  veil  across  her  eyes.  And  she 
was  the  daughter  of  a  great  chief 
whose  modesty  and  standing  had  never 
been  in  question.  But  that  was  up- 
country  in  South  Africa. 

It  was  almost  impossible  to  be  im- 
modest in  that  happy  clime,  because 
nobody  but  us  wore  any  clothes.  And 
when  a  stray  civilized  European  wan- 
dered in  with  his  nudges,  his  smirks, 
and  his  cultured  conscience,  he  was  re- 
garded as  a  peculiarly  nasty-minded, 
immodest  person. 

On  one  occasion,  my  father  was 
called  upon  to  uphold  civilization  in 
that  country.  He  had  hired  five  hun- 
dred sumptuously  naked  Kaffirs  and 
wished  to  transport  them  through  the 
new  little  corrugated-iron  town  of 
Branford,  Branford  was  holding 
civilization  and  demanded  that  these 
natives  be  clothed  in  trousers  and 
shirts  before  entering  the  town. 

So  they  were  halted  at  a  decent  dis- 
tance while  five  hundred  pairs  of 
trousers  and  five  hundred  shirts  were 
forthcoming  from  Capetown.  They 
were  duly  doled  out  upon  arrival — and 
those  five  hundred  Kaffirs  marched 
through  Branford  with  the  shirts  ar- 
ranged into  handsome  turbans  and  the 
trousers  slung  around  their  necks 
like  shawls ! 

They  were  very  thorough  about 


PHP 


this  question  of  modesty  at  my  French 
convent.  There,  we  girls  had  to  take 
our  bath  in  our  chemises ;  it  was  scan- 
dalous to  even  see  ourselves  undraped. 
Only  the  most  immodest  amongst  us 


23 


/r*  hOllVWOOD  California. 

ever  deceived  dear  Soeur  Therese  by 
wringing  that  garment  out  in  the 
water  as  Exhibit  "A"  in  the  evidence 
—before  taking  our  bath  in  the  way 
usual  under  other  forms  of  civilization. 

So,  you  see,  quite  a  good  deal  de- 
pends upon  where  one  is;  don't  you 
know  ? 

In  Japan,  now,  modesty  is  very  con- 
fusing. A  nice  Japanese  girl  would 
not  show  her  legs,  her  neck,  her  arms 
for  anything— excepting  only  in  the 
public  bath-houses  where  both  sexes 
bathe  together  in  the  nude. 
The  decorum  there  is 
above  reproach  —  the 
only  people  who  ever 
"get  fresh"  are 
odious  Europeans 
who  have  to  be 
expelled  promptly 
for  immodesty. 

Hence,you  will 
observe  that  the 
American  Mo- 
t  i  o 


ture  censorship  is  not  the  only  curious 
brand  of  modesty  extant.  But,  after 
all,  a  good  deal  of  respect  is  due  the 
Motion  Picture  Censor.  He,  alone  of 
all  people,  really  knows  where  modesty 
begins  and  ends  and  under  just  what 
circumstances  nudity  is  modest.  He 
doesn't  argue,  you  understand — really 
modest  people  could  never  argue  upon 
such  an  immodest  subject — but  he 
knows,  bless  him. 

History,  for  instance,  modifies 
things  considerably — in  the  movies. 

When,   for  instance,  Cecil 
de  Mille,  anxious  to  be 
wholly  modest  in  his 
presentations  and 
yet  wishing  to  in- 
ject a  modicum  of 
cultured  interest, 
keeps  his  modern 
females  nicely 
within  the  most  re- 
cent code  of  civilized 
modesty  —  he  man- 
ages to  introduce 
a  n  i  c  e  little 
hark  back 
to  an- 
cient 


Rome — in  just  another  age  of  totter- 
ing civilization— and  he  can  strip  'cm 
with  impunity.  His  leading  lady  may 
then  disport  herself  solely  in  a  row  of 
beads  and  a  headdress,  for  purely  edu- 
cational historical  purposes — and  the 
Censor  and  Civilization  bear  up 
bravely. 

Then  there  is  the  question  of  Art  to 
be  considered — Art,  the  very  bulwark 
of  civilization.  But  Art  has  certain 
intimate  affiliations  with  Nature  and 
Truth.  And,  alas,  Nature  and  Truth 
can  be  so  very  uncivilized.  So  it 
comes  to  pass  that  most  of  the  famous 
art  galleries  of  the  world  are  filled 
with  portrayals  of  ladies  and  gentle- 
men who  stand  forth  in  confident 
modesty  minus  a  stitch,  although  once 
in  a  way  concessions  are  made  in  the 
matter  of  fig-leaves. 


Ai 


"Woman  has 
shamelessly  pro- 
claimed to  a 
startled  mascu- 
line world  that 
she  has  knees' 
and  doesn't  care 
■who  knows  it." 
Posed  by  Bessie 
hove. 


movie  director,  therefore,  with 
a  passionate  regard  for  Art,  Nature 
and  Truth,  is  reduced  to  having  his 
leading  lady  pose  as  a  lovely  cold 
marble  statue  —  and  Civilization  is 
saved. 

Even  Ringling's  Circus,  with  a 
proper  regard  for  Art,  Truth  and 
Civilization,  met  the  difficult  combina- 
tion by  posing  its  beauties  as  nude 
sculpture  groups,  dressed  solely  in  a 
little  powder  and  a  wisp  of  chiffon — 
and  the  whole  atmosphere  of  the  tent 
was  elevated  into  one  vast  Arty  appre- 
ciation. But  if  they  had  done  their 
other  stunts  in  that  costume — Civiliza- 
tion, where  would  you  have  been? 

And  again,  the  lady  who  did  the 
fearsome  stunts  on  the  trapeze — just 
a  nice  covering  of  skin-tight  tights.  No 
one  questioned  the  athletic  young  per- 
son's modesty  on  the  trapeze — but  oh, 
if  she  essayed  to  play  golf  at  the  Los 
Angeles  Country  Club  in  those  togs! 
Phew !  Or  would  even  the  Motion 
Picture  Censor  stand  for  those  tights 
on  the  screen — without  even  a  cape 
over  the  shoulders  or  a  ruffle  around 
the  waist?  No,  sir;  modesty  in  the 
circus  and  modesty  on  the  screen  are 
two  very  different  matters.  Oh,  very 
different. 

You  will  have  heard  the  cultured 
quidnuncs  deplore  that,  alas,  the  mo- 
tion picture  is  not  Art.  Well,  I  should 
say  not.  What  you  go  to  see  in  an  art 
gallery,  for  your  intellectual  improve- 
ment's sake,  for  the  cause  of  higher 
civilization,  is  entirely  distinct  from 
what  you  go  to  see  in  the  movies  for 
mere  entertainment.  Why,  if  those 
film  people  dared  to  inject  that  sort  of 
Art,  that  sort  of  higher  culture,  that 
sort  of  civilization  into  picture  shows 
— my  good  sirs,  the  Censors  would 
have  an  apoplectic  fit  forthwith. 

The  women's  clubs,  those  strong- 
holds of  culture  and  civilization,  arc 


24 


1  H0U.VWOOO  C*MW>WIIA 


great  patrons  of  Art— and  they  also 
have  Better  Pictures  Committees  in- 
tent upon  elevating  the  movies — but, 
dear  Heaven,  don't  ask  them  to  be  so 
utterly  immodest,  so  incredibly  lost  to 
all  decency,  as  to  endorse  any  efforts 
on  the  part  of  low-minded  directors  to 
inject  Art,  that  Art  which  is  the  very 
breath  of  their  club  life — into  the 
movies.  Apollo  is  perfectly  corking 
as  a  sculptured  figure— but  Herbert 
Rawlinson  as  Apollo  for  the  benefit  of 
the  untutored  masses,  oh,  not  even  his- 
torically, educationally,  don't  you 
know,  could  it  possibly  be  done. 
Psyche,  too,  even  taking  her  bath,  re- 
mains in  perfectly  good  standing  in 
paint  and  canvas  —  but  in  modern 
vital  photography,  well,  not  even 
Elsie  Ferguson  or  Lila  Lee 
could  be  suffered  in  such  a 
role. 

But  let  us  con- 
f  i n e  our- 
selves 
for 


Ok 


a  moment  to  this  matter  of  photog- 
raphy. There  is  distinct  vogue  for  pic- 
tures in  the  nude  of  certain  human  be- 
ings— both  male  and  female — usually 
taken  at  a  tender  age,  anywhere  from 
six  months  to  three  or  four  years,  by 
which  time  their  parents,  at  least, 
should  have  been  properly  inculcated 
with  the  modest  ethics  of  civilization. 
But  even  a  Morals  Efficiency  Associ- 
ation would  hesitate  to  carp  at  these. 
Let  these  young  persons  but  try  to 
emulate  the  vogue  a  few  years  later,  or 
even  to  show  some  person  of  the  oppo- 
site sex  the  immodesty  perpetuated 
upon  them  in  their  extreme  youth  in 
the  family  album— well,  we  should 
know  exactly  what  to  think  of  them! 

I,  myself,  recall  a  hideous  incident 
of  this  kind  perpetrated  upon  myself 


<I  A  director  can  hark  back  to 
ancient  Rome  and  strip  'cm 
with  impunity. 

Kathryn  McGuirc  in  Sennctt 
Comedies. 

and  a  young  aunt  of  mine  only  a  few 
years  older.  But  that,  meant  that 
when  she  was  eighteen  and  a  modest 
young  lady,  I  was  only  fourteen  and 
still  steeped  in  condoned  immodesty. 
So  when  a  beau  of  hers  called  and  it 
fell  to  my  lot  to  entertain  him,  I  natur- 
ally fell  back  upon  the  family  album. 
There  we  were — I  a  cherub  of  some 
three  months,  she  a  cherubim  of  about 
four  years,  and  both  of  us  reeking  of 
Truth,  Realism,  Nature  and  un- 
draped  Barbarism.  And  even  Art 
could  not  save  the  day,  for  my  youth- 
ful auntie  was  obviously  bowlegged 


in  the  picture.  Now  that  was  the  day 
of  the  Gibson  Girl  floor-sweeping 
skirt,  so  the  young  man  could  not 
verify  any  hope  that  auntie's  legs  had 
since  successfully  aspired  to  a  more 
righteous  longitude.  Being  a  modest 
girl,  she  was  completely  barred  from 
offering  any  evidence.  But,  you  see, 
if  that  had  only  happened  in  1922  in- 
stead of  in  1896,  she  need  never  have 
lost  him — which,  alas,  she  did,  young 
men  being  such  sticklers  for  some 
forms  of  Art — and  I  need  not  neces- 
sarily have  been  nagged  by  the 
whole  family  for  months  after  as  a 
most  inherently  immodest  child!  Or 
if  my  parents  had  only  exercised 
their  own  inherent  modesty  while 
I  was  yet  too  young  to  influence 
their  {Continued  on  Page 72  ) 


25 


HOLLVWOOO  CAUFOftNSA 


e  cr  ets  of 


LEASE  give  me 
the  telephone  number  of 
Agnes  Ayres,"  requests 
a  masculine  voice  over 
the  telephone. 

"Sorry,  but  we  are  not 
allowed  to  give  out  tele- 
phone numbers,"  suave- 
ly replies  the  Lasky  switchboard 
operator. 

"But  it  is  important.  I  must  have 
it !"  insists  the  voice. 

"It  is  really  impossible,"  insists 
the  operator. 

"But  I  am  her  uncle !"  wrathfully. 
Or  her  brother  or  cousin  twice  re- 
moved. 

"Then  surely  you  must  know  Miss 
Ayres'  number!"  and  zip!  out  comes 
a  plug,  in  goes  another  and  Miss 
Operator  is  ready  to  deal  with  the 
feminine  inquirer  who  really  must 
have  Wallace  Reid's  address  this 
minute. 

The  secrets  of  the  grave  arc  as  an 
open  story  compared  with  the  jeal- 
ousy with  which  the  telephone  num- 
bers and  residence  addresses  of  the 
screen  stars  are  guarded. 

ThE  reason  is  obvious.  With  their 
addresses  public  property,  the  little 


privacy  now  af- 
forded t  h  e  m  in 
their  homes 
would  be  denied 

them.  Screen-struck  girls  and  ador- 
ing fans  would  be  trampling  the  flow- 
er-beds and  peering  into  the  windows 
to  get  a  glimpse  of  the  cine- famous. 
The  wires  would  be  kept  smoking 
with  requests  for  admission  into  the 
studios. 

Tradespoeple,  as  well  as  fans,  are 
covetous  of  the  phone  numbers  of 
the  stars.  The  highly  paid  actors 
and  actresses  are  generous  spenders, 
and  a  complete  list  of  their  addresses 
is  worth  money  to  the  photographer 
or  the  automobile  salesman  or  the  shop 
people  generally.  Many  and  ingenious 
are  the  devices  resorted  to  by  these 
people  to  secure  the  desired  informa- 
tion. 


Telephones 


^  How  popular  film  stars  guard 


As  a  rule,  the  city  directories  and 
the  telephone  books  give  no  satisfac- 
tion. When  the  names  appear  at  all, 
they  are  always  the  little-known  non- 
professional names.  If  you  are  well 
up  on  the  film  edition  of  Who's  Who, 
you  may  be  able  to  find  an  occasional 
star  under  her  husband's  name.  If 
she  is  still  using  it. 

Enid  Bennett,  for  instance,  can  be 
reached  by  calling  the  Fred  Niblo 
home  in  Beverly  Hills.  The  wise  ones 
know  that  Mrs.  Allen  Holubar  is 
Dorothy  Phillips.  But,  even  with  the 
number  discovered,  the  caller  must 
first  explain  his  identity  and  business 
to  the  maid  who  answers  the  phone. 
And  long  experience  has  generally 
taught  these  maids  to  recognize  an  in- 
truder by  the  very  way  he  says 
"hello." 

Sometimes  the  tradesman  has  a 
bright  idea.  He  will  put  something 
over  on  Central.  He  calls  Informa- 
tion and  casually  asks  the  telephone 
number  of  the  house  on  the  corner  of 
Yucca  and  Wilcox.  He  believes  the 
name  is  Swanson.  Information  retires 
into  herself  and  returns  to  report 
frigidly  that  if  the  inquirer  is  referring 
to  Miss  Gloria  Swanson  the  number 
is  a  private  line  and  cannot  be  given 
out.  And  did  he  think  he  was  getting 
away  with  something,  or  what? 

R.ECENTLY  the  theatrical  section 
of  a  morning  paper  announced  that 
Viola  Dana  was  confined  to  her  home 
with  a  slight  illness.  Ten  o'clock 
brought  a  messenger  to  the  Metro 
studio  with  a  package  for  Miss  Dana. 
No,  he  would  not  leave  it  at  the 
studio.  He  must  have  Miss  Dana's 
address,  that  he  might  put  it  into  her 
.  own  hands.  Those  were  his  instruc- 
tions and  he  would  not  break  them. 
Just  then  Miss  Dana,  in  person  and 
apparently  in  her  usual  exuberant 
health,  emerged  from  the  studio.  Con: 
sternation  on  the  part  of  the  boy.  The 
box  contained — nothing.  An  insur- 
ance salesman,  thinking  her  reported 
illness  brought  out  the  psychological 
moment  to  sell  her  some  insurance, 
had  framed  the  stunt  to  discover  her 
home  address. 


26 


MOtlVWOOO  CAKfO*M<* 


Hollywood 

By 

Eunice  Marshall 


the  privacy  of  their  homes. 


Decoration  by 
Everett  Wynn 


V 


The  fan  magazines  are  daily  be- 
sieged by  both  fans  and  tradespeople 
for  these  addresses,  but  as  the  ad- 
dresses are  given  the  editors  in,  confi- 
dence, the  magazines  are  as  reticent 
as  the  studios  themselves  about 
them. 

Wally  Reid  is  one  of  the  greatest 
believers  in  secrecy  regarding  home 
addresses  of  the  stars.  Hollywood  still 
giggles  over  the  story  of  the  stage- 
struck  girl  who  ran  away  from  home 
to  see  Wally.    Mrs.  Reid  found  the 
girl  sitting  on  the  doorstep,  deter- 
mined not  to  move  a  step  until  she 
saw  Wally.    Mrs.  Reid,  being  a  good 
sportswoman,  and  having  had  experi- 
ence with  her  husband's  adorers  be- 
fore, took  the  girl  in  and  invited  her 
to  dinner.   Even  then  the  girl  refused 
to  go  home,  and  finally  Mrs.  Reid  had 
to  invoke  the  aid  of  the  Y.  W.  C.  A. 
to  persuade  her  to  leave. 

ThE  good  old  newspaper  ruse  is  a 
favorite  one,  too.  One  day  the  fan 
who  yearns  to  view  the  film  star  in 
his  native  haunts  has  a  truly  bright 
and  original  idea,  an  inspiration  ap- 
parently heaven  sent.  He  will  be  a  re- 
porter, by  heck !  Then,  even  the  most 
supercilious    publicity    man  cannot 


gainsay  his  request  for  one  little  phone 
number. 

But  fans  do  not  look  like  reporters 

 much.    And  where  phone  numbers 

are  concerned,  all  publicity  men  are 
native  sons  of  the  "Show  Me"  State. 
So  unless  the  fan  can  produce  evi- 
dence of  some  connection  with  a  pub- 
lication, he  doesn't  even  get  by  the 
gateman. 

As  a  matter  of  cold  fact,  many  an 
honest-to-goodness  reporter  cannot 
get  the  phone  numbers.  If  you  are 
"in  right"  with  the  publicity  office,  or 
if  you  have  something  on  the  casting 
director,  then — maybe — you  glean  an 
address  here  and  another  there.  Phone 
numbers  are  decidedly  "inside  stuff" 
and  you  have  to  have  the  password  to 
get  them. 

But  the  elegant  cutglass  pajamas  go 
to  the  Los  Angeles  automobile  sales- 
man for  his  simple  solution  of  the 
problem.  He  merely  waits  in  his 
automobile  in  front  of  the  studio  until 
the  star  he  wants  gets  out.  Then  he 
follows  him  home.  That  is,  he  does, 
always  supposing  that  the  star  goes 
home.  Sometimes  he  uses  a  lot  of  gas 
before  the  star  finally  slams  the  gar- 
age door  of  his  palatial  estate  in  Bev- 
erly Hills. 


ONE  night,  as  the  subtitles  say,  the 
particular  star  the  salesman  was  trail- 
ing went  on  a  party.  Our  Old  Sleuth 
had  to  make  the  asphalt  smoke  to  keep 
up  with  the  party,  to  say  nothing  of 
waiting  in  the  cold  before  several 
beach  cafes  while  the  star  and  his 
friends  danced  and  dined.  (The  sales- 
man hadn't  anticipated  an  evening  of 
it  and  was  financially  unprepared  to 
face  the  robber  barons  of  the  beach 
hostelries.)  But  he  was  game  and 
stuck  it  out.  And  the  next  week, 
when  he  sold  the  star  a  special-built 
machine,  he  added  on  the  cost  of  the 
gas  to  his  price. 

The  fortunate  tradesman,  who  by 
hook  or  crook  achieves  a  list  of  stars' 
phone  numbers,  often  "swaps"  names 
with  other  tradesmen.  At  first,  they 
all  want  Mary  Pick  ford's  number  and 
think  they  have  made  a  neat  bargain 
when  they  have  exchanged  two  or 
three  lesser  lights  for  it.  They  con- 
tinue to  think  so  until  they  try  to  sell 
Mary  something.  Our  Mary  is  a 
shrewd  business  woman.  She  says 
that  she  works  too  hard  for  her  money 
to  throw  it  away. 

The  new  star  is  by  far  the  best 
prospect.  Elated  by  sudden  success 
and  by  an        (Continued  on  Pagej2  ) 


27 


/V*  MOtlVWOOO  CftUrOMiA 


"GBad"  Films  P 


P 


rove  I  eople 


ARE 


<f  I n  thousands  of  cases  of 
"drama-erotica"  psychologists 
make  the  astounding  discov- 
ery that  sensational  melo- 
drama is  a  moral  safety-valve. 


"A  girl  of  irreproachable  character  and  rchncmciit 
zvas  cured  of  melancholia  resulting  ,  from  strange, 
terrible  dreams  when  she  followed  her  doctor's  ad- 
vice and  attended  'a  movie  a  day'." 


I 


N  a  Western  city  there  lives  a  girl, 
irreproachable  in  character  and  re- 
finement, the  product  of  a  well-be- 
haved family.  She  is  absolutely  igno- 
rant of  the  ways  of  the  world.  This 
girl  had  been  troubled  by  strange,  ter- 
rible dreams.  They  persisted  to  such 
a  degree  that  she  became  a  victim  of 
melancholia  and  was  so  affected  in 
health  and  spirits  that  the  family  phy- 
sician was  called  in  to  diagnose  her 
affliction. 

After  hearing  the  case,  the  first 
question  the  doctor  asked  was : 

"Do  you  go  to  the  movies?" 

The  girl  replied,  disdainfully,  that 
she  seldom  attended  them. 

The  doctor  realized  that  her  case 
was  common  to  thousands  of  other 
souls — quiet  folks,  for  the  most  part 
— maiden  aunts,  ribbon  clerks,  pious 
stay-at-homes  and  professional  people 
whose  natural  growth  had  been  re- 
pressed in  the  monotony  of  their  call- 
ings. So  he  prescribed  picture  shows 
— a  film  a  day.  The  more  sensational 
the  film,  the  better,  he  told  her. 

The  young  lady  followed  the  physi- 
cian's advice,  and  in  her  quest  for 
melodramas  of  the  most  lurid  charac- 
ter, frequently  attended  small  theaters 
in  a  quarter  of  the  town  where  her 
family  and  associates  seldom  visited. 

In  less  than  two  weeks  the  terrible 
dreams  ceased.  The  girl's  thoughts, 
unmercifully  cramped  by  the  imposi- 
tions of  a  highly  organized  society, 
found  freedom  in  "wild"  movies. 

"I  have  to  go  unknown  to  my 
friends.    I  do  not  know  what  thev 


would  say  if  they  knew.  It  seems 
horrible,  doctor,  but  today  I  saw  the 
most  objectionable  film,  and  I  actually 
enjoyed  it!"  she  confessed. 

This  point  in  psychic  expansion 
warned  the  doctor  that  the  belabored 
mind  was  cured  but  on  the  verge  of 
another  immoderation — drama  ero- 
tica, as  it  has  been  named.  So  he 
warned  her  to  stay  away  from  the 
theaters  of  the  low  type  and  patron- 
ize the  better  class  of  plays,  and 
these  less  frequently.  His  advice 
was  followed  and  his  patient  became 
normal. 


OCIENCE   makes   the  astounding 

assertion  that  sensational  melodrama 
is  civilization's  pressure  gauge.  We 
should  be  thankful,  say  psycho-ana- 
lysts who  have  studied  the  phe- 
nomena, that  movies  rich  in  emotional 
stimulation  serve  as  a  wholesale  relief 
to  the  unnatural  bent  of  modern  liv- 
ing. 

Among  the  thousands  of  persons 
who  fill  picture  theaters,  these  scien- 
tists have  discovered  a  strange  new 
social  m  a  1  a  d  y — drama  erotica — a 
dream  state  wherein  wistful  folk  who 
lead  drab  lives  find  wholesome  chan- 
nels for  longings  and  imaginings,  in 
daring  rescues,  fighting  scenes,  ro- 
mance, bloodshed  and  adventure. 

What  would  we  do  if  our  imagina- 
tions were  limited  and  repressed? 
What  would  we  do?  We  would  fall 
in  line  with  drug  and  alcohol  addicts, 


say  the  learned  students  of  this  new 
screen  madness,  as  a  sort  of  merciful 
escape  from  the  cruel  hedgings  of 
social  convention. 

Sensational  films  liberate  the  psy- 
chic urge  of  the  average,  individual  in 
the  same  degree  that  do  unsteady 
dreams.  Unsteady  dreams,  psycholo- 
gists explain,  give  the  essential  ex- 
pansion to  neurotic  temperaments. 
Such  dreams  lack  the  vital  force  of 
the  kind  that  persist  with  unwavering 
intensity.  The  latter  kind  reflect  a 
part  in  the  actual  wakeful  moments  of 
the  subject.  For  in  them  there  is 
always  action  and  this  action  mani- 
fests itself  in  the  so-called  instinctive 
show  of  tenderness,  kisses,  malice  or 
hatred — whatever  emotion  is  domi- 
nant in  subconscious  thought. 

Screen  melodrama  provides  the 
adult  with  the  same  lawful  outlet  for 
unsatisfied  longings  as  children  pass 
through  when  they  play  pirates,  dress 
as  Indians  and  tie  wooden  guns  to 
their  belts  and  make  believe  they  are 
outlaws.  The  law-abiding  citizen  ex- 
periences, vicariously,  the  thrilling 
life  he  sees  depicted  on  the  silver 
sheet — and  goes  away  satisfied.  In 
the  case  of  the  girl  who  followed  the 
"film  a  day"  cure,  had  she  not  found 
relief  on  the  screen,  she  might  have 
been  actually  forced  to  try  an  ad- 
venturesome route  of  her  own. 

The  world  no  longer  scoffs  at  the 
researches  of  specialists  along  such 
lines.  Startling  facts  are  brought  to 
light  with  logical  reasons  for  their 
being. 


28 


'  WXIVWOOO  C«UFO«Hi* 

PCfKo) 


f'fl 


1 1 

...  :  / 


maw 


q  "Moral  unfortunates  flock  to  see  wholesome  pictures.    Faekjd J^^JSSj ^S? 
rfanrr  W/.f  attended  a   'mother  picture    *w  at  an  ^fcw*a»  camp. 


29 


fr*  HOLLYWOOD  CALIFORNIA 

"Show  Me  the  Telephone  and  I  Can  Tell  You  the  Whole  Story" 


Another  case  is  told  by  a  psycho- 
analyst about  a  prosperous  lawyer 
who  sought  his  services,  wishing  to 
be  freed  from  the  habit  of  reading 
"trashy"  literature.  The  specialist 
advised  him  to  indulge  in  the  reading 
of  romance  and  adventure  to  his 
heart's  content — that  such  reading 
was  the  necessary  mental  relaxation 
which  his  legal-bound  mind  de- 
manded ! 

W  HEN  drama  erotica  shows  a 
tendency  toward  sex  films,  which  are 
the  usual  sort  to  attract  unsophisti- 
cated girls,  quiet  matrons  and  staid 
maiden  ladies,  the  specialists  advise 
against  over-indulgence  and  attempt 
to  focus  the  patient's  interest  in  other 
emotion-arousing  relaxation.  A 
woman  who  "disappeared"  at  regular 
intervals  from  her  home  to  attend  a 
cheap  serial  in  a  downtown  theater, 
of  which  she  enjoyed  every  detail, 
was  miserable  in  her  embarrassment 
when  her  family  apprehended  her 
weakness.  In  this  case,  the  attend- 
ing specialist  prescribed  a  hobby.  The 
woman  then  became  an  enthusiastic 
"fan"  of  automobile  races  and  found 
therein  a  "safety  valve." 

People  go  to  "bad"  films  because 
it  is  "good"  for  them.  Violent  hap- 
penings on  celluloid  hold  their  imag- 
ination within  legitimate  bounds.  A 
bookkeeper  wants  to  see  cowboys  with 
smoking  six-shooters.  Laborers,  lum- 
berjacks, stevedores  get  their  "bal- 
ance" from  picturization  of  ultra- 
society  circles  and  business  deals  in- 
volving mental  agility  to  follow. 
"Highbrow"  audiences  enjoy  comedy 
"gags."  Married  people  and  the  aged 
enjoy  heart-stuff  which  in  real  life 
they  scorn.  The  cowboy  may  sneer 
at  western  pictures  as  "horse  opera" 
but  his  pent-up  inhibitions  will  re- 
spond to  erotic  society  drama.  And 
the  so-called  "wise"  clement  among 
playgoers — the  stratum  of  unfortu- 
nates whose  moral  fiber  is  mere  tat- 
ters— flocks  to  see  the  wholesome 
story!  A  tiny  once-a-week  theater  in 
an  Alaska  camp  drew  packed  audi- 
ences from  the  saloons  and  dance- 
halls  when  a  "mother  picture"  was 
shown.  The  habitues  of  the  resort 
demanded  to  see  the  film  again  the 
next  week. 

So,  through  the  revelations  of  mod- 
ern investigators  in  the  vast  field  of 
phychological  study,  critical  judgment 
of  the  moral  effect  of  a  motion  pic- 
ture is  given  new  consideration.  It  is 
apparent  that  it  is  unjust  to  condemn 
abnormal  screen  entertainment  as  a 
destructive  force.   Within  moral  lim- 


Challenges  Harry  Carr  in 
his  next  piercing  article  in 

SCREENLAND 
for  March 

The  Big  Burlesque  Number 

Out  February  First 

If  the  heroine's  boudoir  tel- 
ephone is  masked  with  an 
Adonis  statue,  her  husband 
is  going  to  deceive  her.  This 
is  one  of  the  signs  that 
never  fail.  There  are  scores 
of  other  strange  quirks  of 
ape-directors  that  you  will 
recognize.  Don't  miss 

Screenland  for  March 


itations,  lurid  melodrama  has  its  use- 
ful task  to  perform  in  the  whirlpool 
of  modern  civilization.  After  all, 
why  should  we  be  so  surprised  at  the 
above  revelations? 

NATURE  has  an  amazing  way  of 
"compensating,"  as  the  psycho-ana- 
lysts say.  And  when  the  last  dread- 
ful sermon  against  human  nature  has 
been  hurled  from  the  pulpit  and  the 
last  William  Jennings  Bryan  has  died 
of  apoplexy  in  an  attempt  to  reform 
the  human  race,  it  will  be  found  that 
the  graphic  chart  of  human  nature  for 
the  last  two  or  three  million  years  has 
shown  such  a  slight  deviation  that  the 
God-of-things-as-they-are  will  prob- 
ably consider  it  a  straight  line,  in- 
stead of  the  wildly  waving  one  that 
the  moralists  believe  it  is. 

HARKING  back  to  the  beloved 
mid- Victorian  times,  for  which  our 
immediate  ancestors  sigh  so  sonor- 
ously —  the  days  of  germ-carrying 
skirts  and  germ-laden  minds.  Prim 
Mrs.  Perkins,  wife  of  the  Baptist 
deacon,  stole  out  a  dime  from  the 
ginger  jar  and  bought  a  Bertha  M. 
Clay  novel  regularly  once  a  week,  or 
bribed  the  hired  girl  to  do  it  for  her 
— or,  if  she  were  the  very  primmest, 
propercst  Mrs.  Perkins,  she  stole  the 


hired  girl's  brazen  yellow  novel  on 
the  hired  girl's  Thursday  off.  Then 
she  retired  to  her  bedroom,  locked 
the  door  and  reveled.  She  became 
the  betrayed  heroine,  glorying  in  her 
betrayal  and  rather  sorry  for  the  ne- 
cessity of  condemning  the  villain 
who  betrayed  her;  her  prim  lips 
pursed  themselves  over  the  immor- 
tal Bertha's  ecstatic  descriptions  of 
ten-minute  kisses.  The  deacon  had 
a  hard  time  measuring  up  when  he 
came  back  from  prayer-meeting. 
The  daughter  of  the  mid- Victorian 
sinner  in  saint's  clothing  read  Rob- 
ert W.  Chambers  just  as  avidly,  just 
as  secretly,  just  as  sinfully — if  vica- 
rious dissipation  be  sin — and  came 
out  of  her  locked  privacy  feeling  as 
if  the  world  were  not  such  a  bad 
place  after  all.  There  would  always 
be  more  novels  by  Robert  W.  Cham- 
bers to  intrigue  her  imagination  and 
make  up  for  John's  uninspired  love- 
making,  limited  to  a  shame  -  faced 
peck  on  the  lips  or  cheek.  Oh, 
blessed  Bertha  M.  Clay,  Charlotte 
M.  Breame,  Mrs.  E.  D.  E.  N.  South- 
worth,  Laura  Jean  Libby !  How 
many  women's  lives  have  you  made 
less  drab !  And  in  the  moralist's 
code,  how  many  sins  you  have  to 
answer  for,  in  making  vicarious  sin- 
ners out  of  apparent  prudes ! 

The  Laura  Jean  Libby  devotee- 
in  the  more  democratic  strata  of 
social  life  were  paralleled  and  beat- 
en at  their  own  game  by  the  more 
Epicurean  mental  dissipators  in 
highbrow  circles.  How  many  intel- 
lectuals have  gotten  a  supreme  kick 
out  of  Schnitzler's  masterpiece  of 
subtle  sensuousness  —  "The  Affairs 
of  Anatol" — out  of  Theophile  Gau- 
tier's  "Mademoiselle  de  Maupin" — 
out  of  Shakespeare's  passionate  and 
exquisite  descriptions  of  the  mating 
of  Venus  and  Adonis ! 

So  let's  don't  hurl  ourselves  like  a 
ton  of  bricks  at  the  movies  and  give 
them  the  distinction  of  having  cre- 
ated a  brand-new  form  of  dissipa- 
tion. The  movies  are  mild  com- 
pared to  the  real  offenders — or  bene- 
factors. The  form  of  appeal  has 
been  changed;  the  purpose  and  the 
necessity  and  the  immortality  of  the 
appeal  are  the  same  yesterday,  to- 
day and  forever. 

So  it  is  mighty  nice  of  the  psycho- 
analysts to  come  along  and  pat  us 
on  the  backs  with  the  assurance  that 
we  are  just  natural  after  all  when  we 
thrill  at  the  final  kiss,  which  we  have 
waited  five  reels  to  enjoy.  Of  course 
we  would  go  right  along  enjoying  it 
anyway,  but  it  is  nice  to  be  under- 
stood at  last. 


30 


€[  Pom/las  l:airhauks, 
May  2.\  18X3,  Den- 
ver, Colorado. 


«f  Mar  v  I 'irl' ford.  April 
K.  IX'M,  Toronto, 
<  'anada. 


5  WIDOWHOOD 

the  S_qd  Destiny  of 

ARY  PlCKFORD? 


I 


A  stormy  career,  checkered  by  abrupt  changes  is 
forecast  by  the  stars  for  Doug,  while  Mary's 
horoscope  predicts  her  return  to  single  blessedness. 

By  Junior  Trismagistus 

Decorations  by  Sutton  W ood 


_  F  the  most  famous  pair  of  wedded 
screen  stars  had  consulted  the  celes- 
tial stars,  it  is  possible  that  they 
might  have  made  much  less  trouble 
and  fame  for  the  supreme  court  of 
Nevada.  For  ail  the  signs  point  to 
the  conclusion  that  Mary  Pickford 
should  not  have  married  Douglas 
Fairbanks;  that  their  connubial  life 
will  be  a  stormy  one ;  that  they  will 
never  celebrate  a  golden  wedding 
anniversary  together,  and  that  they 
arc  not  mated  generally.  But  it  is 
doubtful  if  Mary  and  Doug  would 
have  let  a  little  thing  like  destiny 
stand  in  the  way.  What  is  that  about 
"better  Paris  for  a  day  than  a  cycle 
in  Cathay,"  or  something  remotely 
like  that? 

Everything  hangs  on  the  lament- 
able fact  that  they  were  simply  born 


at  the  wrong  time,  as  far  as  being 
mates  for  each  other  are  concerned. 
Douglas  Fairbanks  was  born  May 
23.  He  should  mate  with  a  lady 
born  between  November  21  and  De- 
cember 21,  September  21  and  Oc- 
tober 21,  or  between  January  21  and 
February  19.  Mary's  horoscope 
plainly  shows  that  she  will  try  to 
find  her  mate  in  at  least  two  more 
husbands.  Here's  a  tip  to  Mary. 
Since  she  was  born  April  8,  she 
should  choose  her  husbands  from 
gentlemen  born  between  September 
21  and  October  21,  July  21  and  Au- 
gust 22,  or  November  21  and  De- 
cember 21. 

Both  Doug  and  Mary  are  sched- 
uled for  large  doses  of  trouble.  Mary 
will  get  hers  in  the  winter  of  1922- 
23,  and  be  nicely  over  it  by  the  win- 


ter of  1924.  Extravagance  plays  a 
large  part  in  the  presaged  disaster. 
Clear  up  to  early  April  of  1924,  while 
Jupiter  is  in  conjunction  with  Uran- 
us, and  Saturn  in  opposition  to  the 
sun,  conditions  are  evil  for  health, 
business,  money  and  friendship,  in- 
cluding the  home.  It  is  not  a  good 
period  to  speculate  or  venture,  and 
may  denote  illness  to  relatives  or 
dear  friends — Doug  himself  may 
suffer. 

BlJT  let's  hope  Mary  is  all  pepped 
up  to  be  a  good  helpmate  when  1930, 
Doug's  jinx  year,  comes  along.  For 
the  hero  who  has  burrowed  his  way 
through  more  adobe  walls,  wrenched 
apart  more  steel  bars,  bested  more 
burly  jailers,  and  scaled  more  lofty 
dungeons  than  any  other  man  on  the 


31 


1  M0U.VWOOO  CALIFORNIA 

AQo) 


screen,  is  fated  by  the  stars  to  expe- 
rience the  real  thing — imprisonment. 
But  by  1930  Doug  ought  to  be  a 
most  proficient  escaper  and  Mars 
may  have  lost  his  kick;  for  it  will 
be  Mars  in  conjunction  with  Saturn 
that  will  give  rise  to  the  handcuffs 
and  irons.  Doug  has  brought  over 
a  regular  ball-and-chain  Karma  from 
his  past.  Wherever  he  goes  he  has 
it  dragging  on  behind,  hampering 
and  impeding,  binding,  restricting 
his  liberty  of  spirit  and  body,  and 
exacting  a  toll  of  sickness,  death  of 
relatives,  troubles  in  money  and 
business,  and  misfortunes  in  mat- 
rimony. 

Karma  is  hot  on  the  trail  of  Mary. 
A  past  life  in  which  America's  sweet- 
heart did  not  always  come  in  when 
her  mother  told  her  to,  and  in  which 
she  perhaps  loved  not  wisely  but  too 
well,  is  responsible  for  her  domes- 
tic tribulations  in  the  present  incar- 
nation— not  Owen  Moore  or  anyone 
else. 

At  that,  Mary's  soul  is  not  a  new 
one.  It  has  lived  several  cycles  and 
has  thus  achieved  a  higher  degree 
of  perfection  due  to  Venus  in  trine 
to  Uranus  and  the  moon  aspecting 
Mercury  and  Uranus.  This  ought 
to  be  quite  a  comfort  to  Doug,  whose 
soul  is  quite  new,  for  it  gives  his 
soul  the  opportunity  to  go  to  school 
to  her  more  edified  soul. 

DOUG'S  chief  talent  is  for  physical 
activity.  The  moon  polarized  in  Sag- 
ittarius shows  that  Doug's  father 
was  an  anxious,  excited  and  hurried 
type  of  mind,  which  produced  a  con- 
dition of  great  mental  and  physical 


activity 

in  the  child.  Act— 
ing  is  Mary's  predomi- 
nant talent ;  in  nothing  else  would 
she  rise  so  high,  while  Doug's  horo- 
scope shows  that  he  could  have  made 
a  great  success  as  a  writer,  an  orator 
or  in  numerous  other  lines. 

To  neither  Mary  nor  Doug  are 
the  stars  kind  in  the  matter  of  fore- 
casting children.  The  stars  proclaim 
Mary  as  moderately  fond  of  chil- 
dren, but  there  is  little  prospect  of  a 
family.  Scorpio  being  in  the  fifth 
house,  provides  the  sting,  and  Uran- 
us in  the  same  location  is  adverse  to 
offspring,  like  many  terrestrial  land- 
lords. 

A.STROLOGY  sets  Mary  down  as 
sociable,  impulsive,  impetuous,  with 
good  reasoning  faculty  and  ability 
to  judge.  Her  impetuosity  is  liable 
to  lead  her  into  mistakes,  both  in  the 
world  of  business  and  of  affection, 
and  discretion  should  be  her  watch- 
word. 

Doug,  on  the  other  hand,  is  rest- 
less, apparently  fickle,  loves  art,  has 
inventive  faculties  and  ability  in 
mathematics.  It  is  at  last  revealed 
why  Douglas  is  the  supreme  acrobat 
of  the  screen.  It  is  his  planets  in  airy 
signs  that  do  it.  They  make  him 
fond  of  the  trapeze,  of  hanging  by 
his  toes,  of  leaping  across  broad 
chasms,  of  riding  in  vehicles  that 
raise  him  high  above  the  ground,  of 
dancing  and  of  skipping  lightly  from 
tree  to  tree. 

Although  no  philosopher,  Mary's 
horoscope  shows  her  to  be  a  fine 


mixer, 

an  excellent 
mimic,  generous,  good- 
natured,  effectionate,  versa- 
tile, adaptable,  not  given  to  fits  of 
"temperament,"  tactful,  and  en- 
dowed with  good  taste.  A  home  i 
the  natural  place  for  Mary,  if  sh 
keeps  her  work  up  also ;  but  Dou 
would  have  made  a  good  pirate 
Strength,  daring  and  adventuresom 
qualities  combine  with  his  gymnas- 
tic talents  to  fit  him  for  a  bold  lif 
upon  the  high  seas,  with  a  hogshea 
of  rum  in  the  cabin  and  the  skul 
and  crossbones  on  the  mast.  Mar 
in  Aries  is  in  a  very  forceful  sig 
and  gives  a  touch  of  revengefulnes 
to  his  nature,  while  being  in  con- 
junction with  a  fixed  star,  Mar- 
gives  danger  of  accidents  to  th 
head.  This  might  be  safe  enough 
for  one  of  filmdom's  dumb-bells,  but 
for  a  man  of  Doug's  brilliant  intel- 
lect for  business  and  professional 
life,  it  would  be  a  calamity. 

Mary,  too,  should  watch  out  for 
accidents,  for  she  will  suffer  from 
injuries  to  the  head,  and  the  posi- 
tion of  Mars  will  give  danger  to  her 
ankles  and  feet.  The  sun  in  con- 
junction with  a  fixed  star  foretells 
danger  of  accident  to  the  lower 
limbs  and  head.  The  moon  in  the 
throat  sign  Taurus  gives  her  a  sus- 
ceptible throat,  while  Aries  gives 


32 


pains  1  n 

the  head  and  eyes. 
The  stars  foretell  illness 
for  her  during  this  winter  and 
early  spring. 

[  ARKING  back  to  matrimony  for 
Doug  and  Mary,  since  that  is  what 
we  are  most  interested  in,  it  is  the 
affliction  of  the  sun  by  Saturn  that 
causes  Mary  her  connubial  woe. 
That  dark-browed  son  of  misery 
stood  in  opposition  to  any  and  all 
husbands  on  the  day  she  was  born. 
Saturn  is  a  slow  worker,  but  his 
technique  is  finished.  He  completes 
his  orbit  in  thirty  years.  The  year 
that  Mary  is  thirty,  Saturn  will  once 
again  take  up  his  residence  in  the 
sign  of  the  scales,  dead  against  the 
planet  that  stands  for  her  husband. 
This  is  going  to  be  a  hard  year  for 
Mary. 

If  you  laid  little  Miss  Pickford's 
troubles  in  Reno  to  other  causes,  you 
were  wrong.  It  was  Saturn  and 
Uranus  in  western  signs  that  caused 
all  the  fuss.  Even  the  judge  wasn't 


to  blame.  If  those  chilly-eyed  stars- 
of-destiny  had  stayed  east  of  the 
Rockies  all  would  have  been  well. 
But  they  are  looking  ominous  right 
now.  Hollywood  is  no  place  for 
Mary  to  keep  a  permanent  residence. 
Hollywood  admirers  may  complain 
about  this,  but  they'll  have  to  take  it 
up  with  the  heavens.  Mary  should 
live  in  the  east  or  middle  west  if  she 
wants  to  keep  peace  with  the  zodiac. 
Two  unfortunate  planets  are  in 
Southern  California  signs.  Like 
Mary's,  Doug's  horoscope  indicates 
only  fair  success  for  endeavors  in 
the  west,  as  most  of  his  planets  are 
in  eastern  signs. 

D  OUG  is  equally  fated  to  matri- 
monial difficulties,  for,  being  born 
Mav  23,  he  is  under  the  double- 
bodied  sign  of  Gemini,  symbol  of  a 


dual  nature  and  matrimonial  diffi- 
culties. Doug  is  a  Gemini  person, 
and  the  early  years  are  trying  for  his 
kind.  Doug's  horoscope  is  good  for 
money,  but  the  latter  half  of  his  life 
will  show  the  most  success.  Every 
tenth  year  of  his  life  he  can  expect 
important  changes,  either  for  good 
or  ill.  The  moon  in  trine  with  Mars 
gives  him  many  sudden  and  unex- 
pected gains. 

Mary  and  Doug  both  have  spirit- 
ual and  intuitive  power,  though  the 
indications  are  that  Mary  will  al- 
ways make  more  use  of  her  power 
than  Doug.  With  Mary,  Saturn  in 
Libra   is   responsible.     Saturn  in 


f  y 


<I  Mary's    horoscope    holds    out  a 
promise  of  declining  years  spent 
.  in  more  peace  than  she  found  try- 
ing to  catch  step  with  tempera- 
mental husbands. 


Taurus  gives  Doug  intuitional 
powers,  insight  and  psychic  talents. 
If  he  used  them  he  could  avoid  nup- 
tial disturbances. 

ThE  Fairbanks  chart  portends  a 
pretty  long  life,  but  the  sun  afflicted 
by  Jupiter  weakens  the  heart,  and 
the  moon  in  Gemini  affects  the  circu- 
lation and  blood.  His  eyes  and 
stomach  will  not  always  give  him 
the  best  of  service  either.  For  Doug, 
the  years  1933  and  1934  will  be  most 

34 


favorable  and  productive  of  great 
changes.  Ocean  voyages  will  result, 
and  he  will  take  up  a  new  line  of 
work.  It  will  be  a  period  also  of  total 
alterations  in  his  beliefs  and  con- 
sciousness. Can  it  be  that  Douglas, 
like  another  noted  public  man,  will 
renounce  the  vanities  of  this  our 
world  and  hie  himself  to  some  Al- 
pine monastery?  It  makes  a  pretty 
speculation,  and  carries  out  the  need 
of  his  chart  for  a  proper  balance  be- 
tween the  mental  and  the  physical. 
It  would  be  no  unhappy  ending, 


spending  half  the  time  on  his  knees 
for  the  edification  if  his  soul,  and  the 
other  half  furnishing  recreation  to 
the  monks  by  doing  handsprings 
over  the  Jungfrau  and  cartwheels 
over  the  Matterhorn. 

Mary's  horoscope  also  holds  out 
the  promise  of  long  life  and  unlimited 
success,  though  if  the  signs  are  read 
correctly  she  will  probably  be  spend- 
ing the  declining  years  in  a  state  of 
single  blessedness,  in  more  peace  than 
she  found  in  trying  to  keep  step  with 
temperamental  husbands. 


<J  The  PICTURE  of  the  Month 


HIS  is  dedicated  to 
the  discriminating  few 
who  care  much  for 
literature  and  little  for 
motion  pictures.  It 
will  he  a  matter  of  in- 
terest to  this  minority 
to  note  how  faithfully 
a  novel  has  been  trans- 
ferred to  the  silver- 
sheet. 


eautiful 

&  Damned 


—  Warner  Bros.  "Production 


D 


'ANGER,  SLOW  DOWN !  the 
sign-post  read.  But  Gloria,  little  spoil- 
ed butterfly  that  she  is,  and  her  gay 
young  husband,  Tony,  cannot  read 
the  warning.  From  the  moment  that 
the  two  marry,  secure  in  the  pathetic 
but  glorious  delusion  that  two  can  live 
on  an  income  not  sufficient  for  one, 
they  rush  on  in  their  mad  search  for 
pleasure.  Tony's  budding  attempts  at 
ambition  are  hampered  by  his  young 
wife's  longing  for  excitement,  until 
he,  too,  loses  all  desire  for  work.  Then 
Fate,  sensing  the  crash  that  must 
come,  pulls  them  up  short.  Comes 
poverty  that  brings  out  the  hidden 


strength  in  the  frivolous  wife  and  the 
latent  weakness  in  the  husband.  Then 
....  regeneration. 

F.  Scott  Fitzgerald's  story,  The 
Beautiful  and  Damned,  has  been  ad- 
hered to  faithfully  in  the  Warner 
Bros,  screen  version.  Necessarily  lack- 
ing the  witty  cynicisms  of  Fitzgerald's 
brilliant  style,  yet  the  picture  sweeps 
on  to  a  triumphant  climax. 

Marie  Prevost  as  Gloria  does  by  far 
the  best  work  of  her  career.  She  is 
Gloria,  pretty,  petted,  apparently 
thoroughly — though  adorably — selfish . 
Her  transformation  from  a  plaything 
to  a  real  woman,  under  the  sting  of 


poverty  and  grief,  must  surprise  those 
critics  who  have  seen  little  trace  of 
dramatic  ability  in  the  light  comedies 
in  which  she  has  been  wasted  hereto- 
fore. 

Kenneth  Harlan's  work  as  Anthony 
Patch  is  highly  commendable.  The 
heir  apparent  to  the  great  wealth  of 
an  aged  grandfather,  he  is  convinc- 
ing at  all  times.  He  acts  as  probably 
we  would  under  the  same  circum- 
stances. Not  heroic.  Just  human. 
Tully  Marshall  as  the  grandfather  is 
excellent.  Others  deserving  of  praise 
are  Louise  Fazenda,  the  village  vam- 
pire and  Harry  Myers,  as  the  impecu- 
nious young  novelist. 


Little  HINTS 


LAYGOERS 


KICK  IN— Paramount 
OU  would  never  imagine  so 
many  thrilling  things  could  happen 
to  one  man  until  you  see  Bert 
Lytell  in  these  action-crowded 
reels.  Lytell  is  movicland's  per- 
fect crook  and  in  Kick  In  he  has 
a  perfect  crook  role.  Betty  Comp- 
son  is  the  district  attorney's 
daughter  whom  the  crook  loves, 
and  Ouida  Bergere,  who  adapted 
the  stage  piece  for  her  husband, 
Director  George  Fitsmaurice,  pre- 
served all  the  "kick"  of  the  George 
Cohan  anti-climaxes.  This  is  a 
melodrama  that  will  make  you 
grip  your  neighbor's  coat  sleeve, 
because  it  is  one  of  the  month's 
best  movies. 


THE  HEADLESS  HORSEMAN 
— Hodkinson 

flICHABOD  CRANE  steps  straight  from 
the  pages  of  our  old  Fifth  Reader  onto  the 
screen.  Will  Rogers,  as  Ichabod,  is  a  home- 
ly, lovable  character  whose  subtle  humor 
and  quaint  pathos  will  not  be  appreciated 
by  the  flappers.  The  atmosphere  of  Sleepy 
Hollow  and  the  little  tozmi  of  Tarrytown 
lias  been  conveyed  to  the  silver-sheet  suc- 
cessfully—perhaps  because  the  picture  was 
filmed  in  the  original  setting  in  York  State 
and  the  old  tale  has  been  done  with  a  sym- 
pathetic touch  that  should  be  welcomed 
after  a  cycle  of  boudoir  brochures  and  Ro- 
man revels. 


36 


/•f/£   TOW-'iV  THAT  FOR- 
GOT GOD— fox  Special 

qXw/I  worst  storm  since 
the  year  of  the  biff  wind  hits 
this  iniquitous  village.  The 
story  centers  around  the 
cruel  treatment  of  an 
adopted  boy  and  brings  ex- 
tra hankies  into  full  play. 
Not  worth  standing  in  line 
to  see. 


THIRTY  DAYS— Paramount 
qT HIS  is  a  "can't  happen"  comedy,  that  ventures 
timorously  toward  broad  farce  but  hestitates,  floun- 
ders, flops  and  expires.  The  plot  is  about  as  in- 
triguing as  the  first-grade  speller.  Even  the  flappers, 
bless  their  empty  little  pates,  will  go  away  unsatisfied. 
But  Uie  subtitles  dee-,  worth  reading.  If  you  enjoy 
reading,  see  Thirty  Days. 


A  DAUGHTER  OF  LUXURY— Paramount 
«I  A  GOOD  ENOUGH  movie.  Agnes  Ayres  appears  in  the 
screen  version  of  that  snappy  stage  comedy,  The  Imposter 
It  has  been  sifted  through  a  scenario  department  and  still 
retains  some  of  its  smiles.  The  star  is  surrounded  by  several 
strange  faces  whom  fans  have  not  yet  catalogued.  As  a 
whole,  the  picture  can  be  Tated  as  pastime  rather  than  enter- 
tainment. 


'  MOU.VWOOO  CALIFORNIA 

Ko) 


SINGED  WINGS— Paramount 

*I  A.  screen  fairy  tale  has  been  woven  from  the  mod- 
ern cloth  of  present-day  San  Francisco,  with  Bebe 
Daniels  and  Conrad  Nagel  in  the  principal  roles — 
and  who  doesn't  enjoy  fairy  talcs?  Love  of  them 
has  lingered  in  every  grown-up  since  the  day  when 
Santa  Clans  left  a  copy  of  Hans  Andersen. 

Being  a  Penrhyn  Stanlaws  production,  artistic 
treatment  is  apparent  in  many  scenes,  but  a  slightly 
vague  and  disjointed  assembling  of  the  story  occa- 
sionally jars  one  from  pleasant  reverie.  A  picture 
that  is  out  of  the  ordinary  and  a  few  steps  above  the 
level  of  "just  movie" 


AN  OLD  SWEETHEART  OF  MINE 
— Harry  Garson  Production 

[|T HE  fragrance  of  mignonette  and  old,  musty  valen- 
tines is  found  in  this  film  version  of  the  beloved 
James  Whitcomb  Riley  poem.  The  unfortunate  intro- 
duction of  a  bogus  oil  well  that  suddenly  becomes 
valuable  detracts  from  the  romantic  flavor  of  the  pic- 
ture, to  some  dectree.  Elliott  Dexter  as  the  hero 
and  Helen  Jerome  Eddy  as  The  Old  Sweetheart 
give  performances  that  approach  the  ideal  in  screen 
portrayal.  The  old  folks  will  love  this  memorial  of 
the  days  when  Romance  was  young. 


ONE  EXCITING  NIGHT— Griffith 
<I  MYSTERIOUS  murders  at  midnight,  smothered  screams,  groping  white  arms  in  the  dark- 
ness, all  combine  to  make  One  Exciting  Night  live  up  to  its  title.  Except  for  the  Big 
Thrill,  in  this  case  a  superb  storm  scene,  the  picture  bears  no  mark  of  Griffith's  person- 
ality. Excellent  work  by  a  well-chosen  cast,  headed  by  Carol  Dempster  and  Henry  Hull, 
manage  to  put  the  picture  across  with  a  bang,  in  spite  of  incongruous  situations  and 
medicore  subtitles.  Porter  Strong  offers  welcome  comedy  relief  as  Romeo,  the  young 
negro  lover. 


THE  QUEEN  OF  THE 
MOULIN  ROUGE 
— Pyramid 

A  VAPID  story  of  Mont- 
martre  life,  starring  Martha 
Mansfield.  Miss  Man  field 
is  edifying  on  magazine 
covers,  but  fails  to  register 
when  dramatic  interpreta- 
tion is  called  for.  An  ex- 
cellent insomnia  remedy. 


38 


HOilVWOOD  CAU'OKHIA 


qfi^NOTHEK  South 


Sens  romance.  It  is  a 
safe  investment  fin- 
any  playgoer  who  is 
on  the  market  for  an 
evening's  entertain- 
ment, but  it  leaves 
much  to  be  desired  as 
a  screen  classic.  The 
vivid,  pulse  -  stirring 
qualities  ,  of  Robert 
Louis  Stevenson's  tale 
arc  borne  by  the  ex- 
cellent acting  of  a 
splendid  cast.  The 
settings  and  treatment 
arc  conventional.  The 
story  deserved  to  be 
better  produced. 


THE  HOTTENTOT— luce- 
Associated  First  National 

snappy  little  number  in- 
cluding some  good  comedy 
situations  and  the  most  thrill- 
ing steeplechase  race  scenes 
ever  filmed.  The  comedy  occa- 
sionally is  forced  by  unneces- 
sary titles  but  with  The  Hot- 
tentot to  give  it  speed  and  dash 
the  picture,  moves  in  swift 
tempo  to  the  final  scenes  of  the 
big  race.  There  are  many  situ- 
ations that  will  draw  your 
chuckles.  Douglas  MacLean 
portrays  with  true  pantomimic 
skill  for  comedy  the  serious- 
minded  young  hero  who  is 
afraid  of  horses,  while  the 
dainty  grace  of  Madge  Bell- 
amy adds  ornamentation. 


ttiittJintittliftiiti 


3s> 


MOtiVWOOO  C»LifOWt* 

(90(2(3)J)(U?lC!)(ol 


•I  W  h  e  n  this  gentleman 
gets  through  chopping  to 
hits  old  worn-out  films, 
there  will  be  little  dan- 
ger of  them  again  de- 
scending on  an  unsus- 
pecting public  in  the 
form  of  warmed-over 
movies. 


If  you  have  ever  paid  out  your  good 
theatre  that  you  were  looking  at  an  old 

know  why- 


ovies 


.  HE  coatless  gentleman  with  poised 
hatchet  in  the  accompanying  photo- 
graph is  doing  a  noble  service  to  the 
motion  picture  industry.  He  is  operat- 
ing on  old,  worn-out  films  that  have 
been  returned  to  the  laboratory,  exer- 
cising pre-natal  influence  on  possible 
monkey  gland  movies,  so  to  speak. 
When  he  gets  through  chopping  to  bits 
the  canned  drama  you  see  surround- 
ing him,  there  will  be  little  danger  of 
those  films  descending  upon  an  unsus- 
pecting public  in  the  form  of  warmed- 
over  movies. 

So  long  as  old  films  can  be  .pur- 
chased for  a  few  dollars, 
unscrupulous  dealers 
will  re-hash  them,  insert 
a  few  new  titles,  play  up 
any  personality  who 
may  have  acquired  a 
box-office  value,  even 
though  he  may  have 
been  only  "atmosphere" 
in  the  picture,  and  make 
a  big  profit  at  the  ex- 


pense of  the  confidence  of  the  public 
in  motion  pictures. 

Rodolph  Valentino  has  suffered  per- 
haps more  than  any  other  actor  from 
these  warmed-over  films.  For  several 
years  Valentino  had  hard  sledding  in 
the  picture  game.  He  considered  him- 
self fortunate  to  get  small  bits  in  in- 
ferior pictures.  Now  that  his  name 
alone  will  bring  out  the  S.  R.  O.  sign 
at  any  theatre,  all  his  early  indiscre- 
tions are  being  dusted  off  and  billed 
as  new  pictures,  starring  him. 

How  exhibitors  do  not  seem  to  mind 
betraying  their  patrons'  confidence  is 


RODOLPH 
VALENTINO  vf» 


''UNCHARTED  SEAS"  ISSFr 


*J  An  example  of  how  exhibitors  cash  in  on  the  popularity  of 
new  stars.  In  this  picture,  Valentino  only  had  a  minor 
part.    Alice  iMkc  starred. 


shown  in  the  advertisement  of  a  Los 
Angeles  theatre,  reproduced  on  this 
page,  advertising  Uncharted  Seas,  a 
Metro  production.  Alice  Lake  starred 
in  this  picture.  Valentino  had  a  good 
part,  that  of  the  third  point  of  the 
eternal  triangle,  but  he  was  not  the 
leading  character.  The  exhibitor,  how- 
ever, featured  Valentino's  name  in 
bold  letters,  mentioning  the  star  only 
casually  in  inconspicuous  type  in  the 
body  of  the  ad. 

ANOTHER  instance: 

In  the  illustration  of  the  advertise- 
ment of  The  Isle  Of 
Love,  you  will  see  the 
names  of  Julian  Eltinge 
and  Rodolph  Valentino 
in  lettering  of  the  same 
size.  You  will  probably 
not  notice  the  statement 
that  the  picture  is  "re- 
vised from  An  En- 
chantress, the  type  is  so 
small.  From  the  posters 


40 


fp  HOtXVWOOO  C«t.»0*Mi«. 


ANO 

RODOLPH  VALENTINO 

THE  ISLE  OF  LOVE 


money,  only  to  discover  in  the  darkened 
film  "warmed  over,"  you  will  want  to 


Get 


Expose  of  Monkey-Gland  Movies 


By  L-  B.  Fowler 


you  would  conclude  that  Rudie  was 
the  main  squeeze.  As  a  matter  of 
cold  fact,  he  does  very  little.  He  ap- 
pears in  a  few  dancing  scenes,  that  is 

all.  , 

The  Rogue's  Romance  was  proba- 
bly the  most  flagrant  example  of 
monkey-gland  movies  that  antagonize 
a  none-too-trusting  public.  The  pos- 
ters show  a  page  of  shots  from  this 
Earle  Williams'  picture,  all  featuring 
Valentino.  Occasionally,  they  allow 
Williams,  the  star,  a  circle  insert  in 
one  corner  of  the  bills.  You  will  notice 
that  all  the  scenes  are  dancing  scenes. 
There's  a  reason,  as  you  discovered 
if  you  paid  out  your  good  money  to 
see  a  Valentino  film. 

Valentino  does  a  small  "bit," 

an  Apache  dance.  It  was  a  good 
dance,  but  not  long  enough  to  bolster 
up  the  Valentino  billing.  So  they  cut 
in  a  repetition  of  the  dance ;  they  have 
Williams  seem  to  like  the  dance  so 
much  that  he  asks  Rudie  to  do  it  again. 
They  had  to  prolong  his  action  some 


Hi 


EARLE  WILLIAMS 
RODOLPH  VALENTINO 
A  ROGUE'S  ROMANCE 


q  Tlie  real  star  of  A  Jiogne's  Ro- 
mance doesn't  get  much  mention 
in  this  Vitagraph  re-issue  poster. 
Valentino,  who  appears  in  only  a 
few  flashes,  gels  the  advertising. 


way,  else  he  would  have  appeared  only 
in  a  few  short  flashes. 

A  trade  journal  for  exhibitors,  re- 
cently printed  a  review  of  A  Rogue's 
Romance.  The  reviewer,  who  doesn't 
express  his  thought  in  actual  words, 
for  obvious  practical  reasons,  permits 
you  to  read  between  the  lines : 

"Taking  advantage  of  Rodolph 
Valentino's  phenomenal  rise  to  fame, 
Vitagraph  is  reviving  this  production 
of  other  days  and  in  billing  the  pic- 
ture is  giving  'The  Perfect  Lover' 
equal  prominence  with  the  star,  Earl 
Williams.  This  is  all  well  and  good  and 


«I  The  debonairc  Wally  Reid  of  a 
decade  ago  and  Lillian  Gish  in 
Enoch  Arden,  recently  rc-issucd 
under  the  title  of  "The  Fatal 
Marriage."  Did  you  pay  your 
money  to  see  it? 

fine  business  practice,  but  Williams  is 
the  boy  who  does  the  work    .    .    .  ." 

Williams  is  the  boy  who  does  the 
work.  He  dominates  every  scene.  His 
name  alone  should  have  been  dis- 
played on  the  bill-boards.  To  advertise 
Valentino's  name  as  large  as  that  of 
the  star  is  misrepresentation.  It  is 
FOOLING  the  playgoer.  It  is  an  in- 
sult to  the  fan.  The  man  who  writes 
the  review  says  so  between  the  lines. 

Why  do  producers  and  distributors 
play  upon  the  good  nature  of  the  pub- 
lic, upon  whom  they  depend  for  their 
bread  and  butter?  They  are  cutting 
their  own  throats  by  doing  so. 


<j  /  alcntino  is  only  "atmosphere"  in 
this  Julian  Eltingc  picture,  but  he 
is  co-starred  in  the  billing  of  the 
revived  film. 


A 


WOMAN  patron  who  sat  through 
two  performances  of  A  Delicious 
Little  Devil  didn't  do  it  because  she 
liked  the  picture.  She  thought  she  had 
missed  Rudie  somewhere  coming  in. 
Because  Valentino's  name  had  been 
billed  as  big  as  Mae  Murray's,  the  real 
star,  she  had  guilelessly  expected  to 
see  him  have  a  real  part.  The  exhibi- 
tor probably  wouldn't  have  men- 
tioned Mae  at  all  if  she  hadn't  threat- 
ened legal  action  if  she  wasn't  given 
proper  credit.  The  woman  went  out, 
solemnly  swearing  she  would  never 
patronize  that  play-house  again.  "They 
stole  my  money,"  she  said. 

Perhaps  you  have  read  the  recent 
billing  of      {Continued  on  page  75) 


«j  Lillian  Gish  in  An  Indian's  Loyal- 
ty. One  of  a  series  of  early 
Griffith  productions  to  be  revived. 


41 


1  MOLIYW0OO  CAUrOANIA 

Ko) 


f 


rom 


^  Pertinent  and  imperti- 
nent paragraphs  about 
your  favorite  stars, 
straight  from  the  Boule- 
vard to  you. 


<I  lialph  Graves  is  bringing  home  books  on  The  Cart 
and  Training  of  Infants,  so  'tis  said  by  those  who 
declare  that  the  stork  is  hovering  over  the  Graves 
household.  Mr.  and  Mrs.  Graves  are  here  shown  in 
the  grounds  of  their  Hollywood  home. 


No  Telephone  Needed. 

ELEPHONE  connections  be- 
tween Hollywood  and  Culver  City 
are  so  poor  that  lady-like  voices  are 
of  little  avail  in  phoning.  The  other 
day  Bob  Mclntyre,  casting  director 
at  Goldwyn's,  was  shrieking  into 
the  receiver. 

"My  God,"  said  Marshall  Neilan, 
when  bits  of  plaster  began  to  drop 
from  the  ceiling,  "with  a  voice  like 
that,  that  man  doesn't  need  a  tele- 
phone." 

Pola  and  Gloria  and  the 
Studio  Cats. 

PoLA  NEGRI  does  not  like  cats. 
She  is  afraid  of  them.  The  Lasky 
studio  is  over-run  with  pussies  of  all 
colors,  ages  and  sexes.  So  Pola,  who 
knows  well  what  is  due  a  star, 
simply  announced  that  she  would 
work  no  more  until  the  cats  were 
killed. 

"Ze  cats,  zay  must  go!"  declared 
Pola  with  her  most  dramatic  ges- 
ture.  "Eet  is  zay  or  I !" 

The  outlook  was  dark  for  the  pus- 


sies, until  Gloria  Swanson  stamped 
her  dainty  4^2  AAA  and  announced 
that  the  cats  were  under  her  pro- 
tection and  that  not  so  much  as  a 
whisker  of  the  tiniest  kitten  should 
be  harmed. 

Pola  is  still  working  and  the  cats 
are  still  alive. 


Conway  Tearle  Dons 
Shiek's  Robes. 

Conway  tearle  is  the  latest 

recruit  to  the  ranks  of  the  shieks. 
He  plays  the  part  of  a  lord  of  the 
desert  in  Bella  Donna.  But  can  any 
little  girl  present  tell  us  the  rest  of 
the  story?  Quite  right,  he  isn't  all 
Arab.  Just  enough  so  as  to  enable 
him  to  wear  one  of  those  swishy  robes 
while  he  goes  shieking  into  the  desert. 
He  appears  in  immaculate  riding 
panties  in  the  last  reel,  it  is  said,  quite 
according  to  Hull. 


_     Bull  Has  Artistic  Overcoat. 

Dull  Montana's  overcoat  is 

the  sensation  of  Hollywood.  It  has 
the    combined    artistic    qualities  of 


grandma's  patch-work  quilt,  the  set- 
tings used  in  The  Cabinet  of  Dr.  Cali- 
(juri  and  a  fireman's  red  undershirt. 
It  is  further  stated  he  contemplates 
using  live  pigeons  as  buttons. 

But  when  the  proud  Bull  first  dis- 
played it  in  Armstrong's,  Spike  Rob- 
inson, his  "buddy,"  remarked:  "Now 
I  know  what  happened  to  Tom  Mix's 
old  horse-blanket." 


Ti 


Whole  Town  Helps  Viola. 

HE  whole  town  of  Visalia  recently 
turned  out  to  help  Viola  Dana  put  on 
a  mob  scene  in  her  new  picture,  Noise 
in  Newboro.  The  mayor  called  a  half 
holiday  and  all  the  farmers  'round 
about  hitched  up  Dobbin  and  cranked 
up  Lizzie  and  came  to  town  to  act  in 
the  movies.  The  manager  of  the  Idle 
Hour  playhouse  in  Visalia  has  already 
booked  the  picture  and  is  sure  of  pack- 
ing 'em  in  on  one  film,  anyway. 


W 


Will  Goldwyn  Get 
Valentino? 


ILL  Valentino  do  Ben  Hur  for 
Goldwyn  ?    Rumors  seeping  out  from 


42 


\ 


►  MOU.VWOOO  C*k**OAM*« 
IB) 


oily  wood 


neth  Harlan,  there  must  have  been 
at  least  an  understanding  between 
them.  That's  etiquette  in  Hollywood. 
You  always  deny  your  engagements 
and  marriages  until  they  prove  them 
on  you.  Then  you  say,  oh  how  hap- 
py you  are!  Now  Marie  is  being  de- 
liciously  happy  over  her  engagement 
to  Kenneth. 


Laskv  headquarters  seem  to  signify 
that  the  Valentino  contract  may  be 
sold  to  Goldwyn,  with  Lasky  holding 
a  share  in  the  profits  of  all  Valentino 
pictures  made  with  Goldwyn. 

Goldwyn  wants  Valentino.  That 
much  is  certain.  And  if  it  gets  him. 
it's  dollars  to  doughnuts  that  Rudie 
•plays  the  title  role  in  the  Hen  Hur 
production,  for  which  Goldwyn  is  said 
to  have  paid  a  cool  million.  Signifi- 
cance is  lent  to  the  situation  by  the 
fact  that  June  Mathis,  Rudie's  loyal 
friend,  who  did  the  continuities  for 
his  biggest  successes.  The  Four  Horse- 
men and  Blood  and  Sand,  is  to  adapt 
the  storv.  And  though  the  Culver 
City  studio  has  had  the  screen  rights 
to  the  story  for  some  time,  they  have 
delayed  choosing  the  star. 

Lew  Cody  to  Play  "Rupert." 

REX  INGRAM'S  Prisoner  of  Zen 
da  went  over  so  big  with  the  fans,  if 
not  with  the  critics,  that  Myron  Selz- 
nick  felt  an  inspiration  coming  on 
and  went  out  and  bought  the  screen 
rights  to  the  sequel  of  the  Zenda 
story,  Rupert  of  Hentzau.  And  thanks 
be,  he  secured  no  other  than  Lew 
Cody  to  play  the  part  of  the  fascinat- 
ing scoundrel,  Rupert.  Ramon  Navar- 
ro, who  was  Rupert  in  the  Ingram 
picture,  made  him  out  a  fop,  merely 
a  ladies'  man.  The  real  Rupert  was 
a  man  as  well  as  a  villain.  Bert  Lytell 
will  be  Rudolph  Rassendyll  and  Vic- 
tor Heerman  will  direct. 

Old  Plot  Bobs  Up  Again. 
EnID  BENNETT,  who  appeared  so 
charmingly  as  Maid  Marian  in  Robin 
Hood,  will  have  the  feminine  lead 
in  Your  Friend  and  Mine,  from 
the  Willard  Mack  story.  She  will 
play  the  part — that  dear,  familiar  old 
part — of  the  neglected  wife  of  the 
successful  business  man  who  thinks  of 
nothing  but  making  money. 

"Robin  Hood"  in  Burlesque. 

Naturally,  a  big  success  like 

Robin  Hood  cannot  be  permitted  to 
escape  without  at  least  one  burlesque. 
Bull  Montana  is  filming  a  take-off  on 
the  Fairbanks  film  that  he  admits  him- 
self is  a  knock-out.  Rob  'Em  Good  is 
to  be  the  title,  and,  of  course,  Bull 
will  play  the  sprightly  lord  of  Sher- 
wood Forest. 


Star  Deserts  Screen. 

Bryant  vvashburn  and  his 

pretty  little  wife,  Mabel  Washburn, 
have  deserted  the  film  colony  to  do  a 
turn  in  vaudeville.  They  are  taking  a 
very  clever  little  skit  around  the  Or- 
pheum  circuit,  while  the  little  Wash- 
burns  are  staying  with  a  doting  grand- 
mother. 


Marie  Accepts  Kenneth's 

iv  >i  Ring" 

MARIE  FREVOST  has  gone  and 
done  it.  After  denying  it  all  this 
time,  too !  We  might  have  known  that 
when  she  protested  so  hotly  against 
rumors  of  an  engagement  with  Ken 


Agnes  Steps  on  Gas. 
W  ITH  Wally  Reid  temporarily,  at 
least,  hors  du  combat  with  Klieg  eyes, 
etc.,  Agnes  Ayres  is  carrying  on  with 
the  racing  pictures  in  which  Wally's 
soul  delighted.  In  her  newest  picture 
she  will  have  to  do  105  miles  an  hour 
In  her  Deusenberg  racer,  in  competi- 
tion with  real  racing  drivers.  The 
racing  scenes  will  be  shot  out  in  the 
Mojave  desert,  where  Agnes  will  have 
lots  of  room  if  she  starts  to  skid. 


W 


Jazbo  Has  Temperament, 
Too. 


E  do  hope  the  camera  caught  this 
one.  When  Max  Linder,  in  filming  hi^ 
The  Three  Must-Get-T heirs  parody 


<J  When  star  meets  star,  then  comes  the  htg-of-war.  Pitta,  Neon  de- 
manded the  death  of  all  the  cats  at  Lasky' s.  Gloria  Swans  ou  pro- 
tected them.    The  cats  arc  still  thriving. 


43 


on  the  Dumas  romance,  wished  to 
ride  into  Paris  on  a  dashing  steed,  he 
choose  a  sway-back  mule.  Mule's 
name  was,  and  still  is,  Jazbo.  Jazbo 
behaved  like  a  perfect  gentleman  un- 
til* the  comedian  chanced  to  touch  him 
with  his  spur.  Whereupon  Jazbo  went 
up  in  the  air.  Literally.  The  company 
was  too  busy  shrieking  with  laughter 
to  aid  poor  Max,  until  Jazbo,  with  one 
final  heave,  shot  Linder 
over  his  head  onto  the  hard, 
hard  ground.  Result:  a 
nice  ten-day  vacation  for 
the  company  while  Linder 
vacationed  in  the  hospital. 


cuing  little  Frankie  Lee  from  a  burn- 
ing building.  It  was  real  fire,  too.  Just 
as  Glass  leaped  from  the  second  story 
the  beam  on  which  he  had  been  bal- 
ancing collapsed.  Glass  landed  neatly 
— in  a  nest  of  rattlesnakes  that  had 
been  driven  from  the  old  house  by  the 
flames.  Four  cameras  trained  on  Glass 
recorded  a  streak  that  was  a  rattle- 
snake lunching  off  Gaston's  ankle. 


victim  or  a  suicide.  The  police  have  ' 
not  yet  identified  the  corpse. 


Pola  Emotes  in  Private 
Only. 

On  an  enclosed  stage, 
where  every  entrance  is 
barred,  Pola  Negri  made 
her  first  Hollywood  picture, 
Bella  Donna.  All  the  other 
Lasky  stars  have  performed 
in  the  open,  before  the  en- 
thralled gaze  of  visitors 
fortunate  enough  to  reach 
their  sets.  Miss  Negri 
made  positive  demands  for 
strict  privacy  and  in  addi- 
tion requested  continuous 
music,  setting  a  high  mark 
for  temperamental  peculi- 
arities. 


Chaplin  to  Wield  the 
Megaphone. 

Edna  purviance, 

Charlie   Chaplin's  leading 
woman,  is  becoming  a  star. 
Her  first  offering  is  an 
eight- reel  play,  which  Chap- 
lin himself  wrote  and  is 
directing.   The  story  con- 
cerns a  man's  love  for  two 
women,  the  destructive  influ- 
ence of  one  overcome  by  the 
other's  purity.  It  will  be  inter- 
esting to  see  the  Chaplin  hobby  be 
come  his  work. 


Rodolph  Stops  the  Show. 

RODOLPH  VALENTINO  has  al- 
ways refused  to  make  personal  ap- 
pearances, but  he  made  one  that  wasn't 
on  the  cards  the  other  evening  in  New 
York.  Rudie  sneaked  into  the  Rivoli 
Theatre  to  see  how  his  new 
picture,  The  Young  Rajah, 
went  over  with  the  audi- 
ence. Somebody  recognized 
him;  the  news  that  he  was 
in  the  audience  spread,  and 
the  crowd  applauded  until 
Rudie  had  to  get  up  and  say 
a  few  well-chosen  words. 


Charles  Ray  Turns 
Auctioneer. 

Charles  ray  auc- 
tioned off  a  number  of  baby 
pups  at  the  Hollywood  Dog 
Show  recently  for  the  bene- 
fit of  wounded  veterans  of 
the  World  War.  Almost 
every  prominent  person  in 
filmdom  entered  a  dog  in 
the  show. 


<1  Jean  Acker  has  petitioned  the  court  to  allozu  her  to 
keep  the  name  of  Mrs.  Rodolph  Valentino.  "You 
are  not  Mrs.  Valentino,"  says  Rodolph.  "You're 
Mrs.  Antonio  Guglielmi,  and  you  have  no  right  to 
my  stage  name." 


Divorce  Put  on  Business 
Basis. 

Dorothy  devore,  Christie 

comedienne,  is  one  of  the  latest  on 
the  divorce  roll.  She  sent  a  note  for 
hubby,  asking  to  please  leave  the  key 
at  the  bungalow.  The  divorce  idea  in 
Hollywood  is  being  put  on  a  business- 
like basis. 


"And  I'll  bet  that  the  fans  will 
say  it  was  a  papier  mache  snake," 
mourned  Gaston,  nursing  his  swollen 
ankle.  "It  didn't  have  a  papier  mache 
bite,  anyway." 


Jean  Would  Keep 
Rudie's  Name. 

JEAN  ACKER'S  recent 
petition  to  keep  the  name 
of  Mrs.  Rodolph  Valentino 
is  not  meeting  with  any  en- 
thusiastic concurrence  from 
Rodolpho.    Valentino's  at- 
torney immediately  filed  an 
answer  for  his  client,  stat- 
ing that  Miss  Acker  had 
no  right,  by  law  or  equity, 
to  change  her  name  from 
Mrs.  Antonio  Guglielmi  to  Mrs. 
Rodolph  Valentino.   Her  only 
intent,  the  attorney  declared, 
was  to  profit  by  the  publicity 
value  of  her  former  husband's  name. 


Snakes  Get  Gaston 
Glass. 

LlFE  is  so  interesting  in  the  movies. 
Just  one  thing  after  another  to  keep 
the  movie  star  amused.  Take  Gaston 
Glass'  experience.  The  other  day 
Gaston  was  doing  a  boy-stood-on-the- 
burning-deck  scene  in  The  Hero,  res- 


Bruin  Discovers  Corpse. 

ToM  FORMAN  stumbled  upon  a 
tragedy  in  real  life  recently  while 
shooting  some  scenes  for  his  new  pic- 
ture, Are  You  a  Failure?  The  scene 
called  for  a  bear  that  disappears  into 
the  woods  with  a  dog  at  his  heels. 
When  the  camera  started  grinding, 
Bruin  ambled  over  to  a  clump  of  trees 
and  began  nosing  about  the  roots.  He 
could  not  be  persuaded  to  abandon 
his  interest  in  the  dry  leaves ;  so  Tom 
Fomaan  investigated.  Half  concealed 
among  the  trees  was  the  dead  body  of 
a  man  hanging  from  a  limb,  a  murder 


Charlie  Engaged  Again? 
POOR  Charlie  Chaplin!  Let  him 
even  so  much  as  speak  prettily  to  a 
lady,  and  presto!  The  papers  an- 
nounce an  engagement.  The  latest 
to  protest  that  she  was  "just  a  very 
good  friend  of  Mr.  Chaplin's"  is 
Eleanor  Boardman,  Goldwyn  featured 
actress.  In  which  she  follows  in  the 
footsteps  of  May  Collins,  Claire  Sher- 
idan, Lila  Lee,  Peggy  Joyce  Hopkins, 
et  alia. 


Real  Drammer  for  Phyllis. 

PHYLLIS  HAVER,  perhaps  the 
most  luscious  of  all  the  peaches  that 
have  bloomed  on  the  Mack  Sennett 
lot,  is  soon  to  appear  at  the  head  of 


44 


her  own  company.  Sennctt  is  being 
very  mysterious  about  the  name  and 
nature  of  the  picture,  except  to  say 
that  it  just  suits  her.  A  bathing  suit, 
perhaps  ? 


Made. 

is  swanking 
in  a  regular 


How  Movies  Are 

Lionel  belmore 

around  the  Goldwyn  lot 
Knights-of-Pythias  uniform,  his  man- 
ly chest  covered  with  medals.  He  has 
a  featured  role  in  Jazzmania. 

"What  are  all  the  medals  for?" 
asked  Richard  Dix. 

"Search  me,"  said  Lionel.  VVc 
haven't  got  that  far  in  the  script  yet." 


Ralph  to  Be  Fond  Papa? 
RALPH  GRAVES,  the  handsome 
youth  who  caused  so  many  susceptible 
feminine  hearts  to  palpitate  in  Grif- 
fith's Dream  Street,  is  lugging  home 
weighty  volumes  on  "The  Care  and 
Training  of  Infants"  these 
days.  The  stork  has  a  cal- 
culating eye  on  the  Graves 
household.   Mrs.  Graves 
was  an  actress  on  the  legit- 
imate stage  before  her  mar- 
riage two  years  ago. 

Stanlaws'  Criticism  Is 
Sensation. 

All  Hollywood  chuckled 
when  the  Los  Angeles  Her- 
ald, a  Hearst  publication, 
reprinted  from  the  January 
Screenland  the  Penrhyn 
Stanlaws  story,  What's  the 
Matter  With  Our  Holly- 
wood Women — and  left  out 
all  mention  of  Mr.  Stan- 
laws'  criticism  of  Marion 
Davies,  Cosmopolitan  star. 

"Marion  Davies'  face  has 
a  fault  that  is  not  common 
among  beautiful  women,"  com- 
mented Stanlaws  in  Screen- 
land.  "Her  brows  are  too  low, 
too  close  to  the  eyes.  The  eyes 
are  colorless,  and  the  nose  too  flat  on 
the  end." 

C.  B.  Buys  Fast  Launch. 

SPECIALIZING  in  concealed  tele- 
phones and  bathroom  dramas  has  its 
compensations — financial  ones.  C.  B. 
DeMille  has  just  launched  his  speedy 
motor-boat,  Miss  Cecelia,  in  Los  An- 
geles harbor. 

Walter  Hiers  Is  Wally's 
Successor. 

The  best  joke  of  the  month  is 
Walter  Hiers'  elevation  to  stardom  to 
fill  none  other  than  Wallace  Reid's 
shoes.  A  year  ago  who  would  have 
thought  that  the  rotund  Walter  could 
ever  be  thought  of  in  the  same  breath 


as  Wally,  the  Perfect  Lover?  Wallace 
has  of  late  been  going  over  to  the  farce 
drama,  and  when  illness  prevented  him 
from  taking  the  starring  role  in  Mr. 
Billings  Spends  His  Dime,  Lasky 
turned  over  the  role  to  the  other  Para- 
mount comedian,  Hiers.  Walter's  ex- 
cellent work  in  recent  pictures  has 
earned  him  the  promotion.  The  pro- 
motion comes  as  a  nice  wedding  pres- 
ent, by  the  way,  as  Walter  was  mar- 
ried on  December  28,  in  Syracuse. 
N.  Y.  The  bride  was  Miss  Adah  Mc- 
Williams,  a  wealthy  society  girl. 

Would  Snatch  Rudie's 
Crown. 

A.NOTHER  candidate  for  the  Val- 
entino laurels  is  with  us.  Charles  dc 
Roche  (yes,  he  is  a  count)  recently 
burst  upon  a  palpitating  Hollywood, 
clad  in  shrieking  checks  and  a  world- 
weary  expression.  His  press  agents 
shucked  him  of  the  checks  and  dressed 


Lubitsch  to  Direct  Mary. 

The  rumor  is  abroad  in  Hollywood 
that  Mary  Pick  ford  has  engaged 
Ernst  Lubitsch  to  direct  her  in 
Dorothy  Vernon  of  H addon  Hall.  If 
true,  it  means  that  Mary  will  be  really 
directed  for  the  first  time  in  years,  as 
she  has  done  most  of  the  directing 
herself  of  late.  It  is  said  our  Mary 
wants  a  director  whom  she  cannot  boss. 


A 


Charles  Dickens  Just  Loved 
"Peaches." 

STORY  that  is  causing  many 
chortles  over  the  spaghetti  in  the  film 
colony  is  that  anent  Peaches  Jackson's 
mother  and  one  Mr.  Dickens.  Mrs. 
Jackson,  in  talking  to  a  newspaper  re- 
porter, resented  the  fact  that  Peaches 
was  not  cast  in  Oliver  Twist. 

"If  Mr.  Dickens  could  have  had 
his  way,  Peaches  would  have  had  a 
good  part  in  the  picture,"  declared  the 
good  lady. 

"Do  you  mean  Charles 
Dickens  ?"  exclaimed  the 
astonished  reporter. 

"Oh,  yes,  Mr.  Dickens 
was  out  here  all  last  sum- 
mer, and  he  thought 
Peaches  was  a  little 
genius." 


q  The  owner  of  this  Louis  XIV  bedroom  is  the  young 
man  sticking  his  head  so  coyly  from  behind  the  door. 
We  hasten  to  add,  however,  that  Harold  Lloyd  docs 
not  sleep  in  this  rose  and  gold  boudoir.  It  is  merely 
a  Quest  chamber  in  his  palatial  Hollywood  home. 
*  Photo  by  Stagg. 


Art  Demands  Such 
Sacrifices ! 

BOB  FRAZER,  whom 
you  will  remember  as  the 
toreador  in  Mae  Murray's 
Fascination,  is  complaining 
of  his  new  role  in  Jazz- 
mania  being  hard  on  his 
feet.  "My  pants  are  so 
tight  I  don't  dare  sit  down," 
says  Bob,  who  wears  a 
most  gorgeous  white  and 
gold  uniform. 


before 
to  see 
spilled 


him  in  a  more  subdued  suit 
they  permitted  the  reporters 
him,  but  Charles'  exuberance 
over  into  his  conversation.  He  in- 
formed the  press  that  Valentino  was 
a  pretty  boy,  but  that  he,  Charles, 
would  take  great  pleasure  in  showing 
the  ladies  of  America  what  a  real, 
continental  heart-smasher  was  like.  It 
is  said  the  irreverent  of  Hollywood 
have  dubbed  the  blithe  Charles  "Las- 
ky 's  mistake." 

Enid  Bennett  to  Play 
Priscilla. 

ENID  BENNETT  looked  so  pretty 
as  Maid  Marian  in  Robin  Hood  that 
Charles  Ray  immediately  signed  her 
up,  to  play  Priscilla  in  his  new  picture, 
The  Courtship  of  Miles  Standish. 


Bert  Loves  His  Art. 
BERT  LYTELL  has  joined 
the  ranks  of  drug-store  blondes.  Hon- 
est, girls,  he  has.  Bert  just  naturally 
hates  and  despises  wearing  a  wig.  His 
new  role  as  Rudolph  Rassendyl  in  the 
Selznick  picture,  Rupert  of  Hentzau, 
called  for  a  blonde  shock  of  hair.  So 
Bert  invested  in  some  peroxide  and 
has  bleached  his  brown  locks. 

Moreno  Supports  Mary  Miles. 

INSTEAD  of  pinch-hitting  for  Val- 
entino, as  Hollywood  gossips  predict- 
ed,. Antonio  Moreno  is  playing  second 
fiddle  to  Mary  Miles  Minter,  in  The 
Trail  of  the  Lonesome  Pine.  This  is 
the  last  picture  Mary  Miles  will  make 
for  Paramount,  as  her  very  remuner- 
ative contract,  calling  for  a  salary  of 
$7,000  each  and  every  week,  has 
expired.        (Continued  on  page  70) 


HOLLVWOOO  CanfOMtA 


Strange  Tales  of  the 
Pitiful  Vanity  of 
Aging  Beauty  Are 
Heard  by  the  C harm 
Specialist. 


vsterious  WAYS  of  theSQeauty 

Glutton 

By   Anne  Austin 


Jf  a  man  is  never  a  hero  to  his 
own  valet,  how  much  less  is  a  mo- 
tion picture  star  a  heroine  to  her 
facial  masseur,  her  manicurist,  her 
hair-dresser!  When  a  star's  lovely 
tresses  are  pulled  back  from  her  fore- 
head, making  revelations  that  would 
rock  the  fan  world ;  when  the  make- 
up has  been  scraped  off  her  face  and 
nature's  shrinking  immodesty  laid 
bare  to  the  beneficent  bath  of  cold 
cream ;  when  the  crow's  feet  around 
her  "most  perfect  eyes  in  the  world" 
(see  her  press  agent)  are  admitted, 
discussed  and  mourned  over;  when 
the  Cupid's  bow  is  off  her  lips  and 
her  honest  Irish  mouth  emerges 
bashfully — then,  oh,  then  the  star 
unbuckles  her  mental  suspenders 
and  lets  herself  go. 

She  talks  not  to  the  masseur  of 
"my  art"  and  "bigger  and  better 
things — the  best  that  is  in  mc  for  my 
public."  In  fact,  Merton  of  the 
Movies,  her  conversation  would  be  a 
body-blow  to  your  beautiful  faith  in 
motion  picture  stars,  built  up  so 
laboriously,  so  poetically,  by  their 
press  agents.  Even  Norma  Tal- 
madge  forgets  that  she  is  a  tragedy 
queen.  To  the  masseur  she  is  merely 


Mrs.  Schenck,  a  nice  married 
woman,  who  talks  of  how  hot  it  is 
for  this  time  of  the  year,  and  isn't 
it  a  shame  that  skirts  are  getting 
longer  and  what  will  we  do  with  the 
short  skirts  we  have,  and  do  you  like 
this  new  handbag  of  mine,  and  when 
on  earth  will  it  rain  again. 

For  of  course  Norma  talks  to  the 
people  who  give  her  a  fancy  facial, 
shampoo,  henna  pack,  Boncilla,  elec- 
trolysis, trim,  scalp  treatment,  mar- 
cel and  manicure.  Yes,  that  is  the 
regular  diet  of  the  beauty  glutton. 

To  hear  ah  honest-to-God  talk  fest, 
go  to  a  beauty  parlor.  For  when  a 
beauty  parlor  expert — they  are  all 
experts,  you  know,  and  have  just 
come  out  from  New  York — is  giving 
you  a  facial  or  a  shampoo,  she 
adopts  the  barber's  social  code — she 
talks  you  into  a  comatose  condition. 
Millions  of  words  of  gossip  arc 
spilled  annually  in  every  beauty  par- 
lor— the  kind  of  gossip  which  Elinor 
Glyn  would  not  dare  to  put  into 
print,  and  which  if  overheard  by 
Robert  W.  Chambers  would  make 
that  now  respectable  scribe  wonder 
why  he  ever  thought  he  understood 


women.  No  name  or  topic  is  sacred 
within  the  shrouding  white  curtains 
of  a  beauty  parlor  booth.  No  man  is 
coming  near.  Other  women  are  busy 
talking,  too.  There  is  nothing  in  the 
world  to  do  but  talk,  and  there  is  no 
time  wasted.  * 

And  a  beauty  parlor  expert  is  no 
snide  Scheherezadc ;  she  is  perfectly 
willing  to  recount  all  the  tid-bits  of 
gossip  that  come  her  way.  The  size 
of  her  tip  largely  depends  on  the 
bulkiness  of  her  gossip  budget. 


O 


UT  of  this  swirling  maelstrom  of 

gossip,  which  I  have  gotten  while 
under  the  steaming  towel  or  in  the 
permanent  wave  machine  or  while 
my  hands  were  being  held  by  a 
loquacious  manicurist,  has  boiled  up 
much  that  is  unprintable  and  a  little 
that  can  be  set  down — good  and  bad 
and  gray-colored. 

The  Talmadge  girls  —  Constance, 
Norma  and  Natalie — arc  three  of  the 
most  popular  patronesses  of  this  par- 
ticular establishment,  located  on 
West  Seventh  street  in  Los  Angeles 
— a  mecca  of  theatrical  and  motion 
picture  people.  If  the  appointment 
sheets   of   this  beauty   shop  were 


MOlLVWOOO  CALIFORNIA 


published  ever)'  day  a  long  line  of  fans 
would  be  obstructing  the  sidewalk 
every  morning  before  the  discreet 
opening  hour  of  nine  o'clock.  Up 


*j  "H'hen  a  player  long  out  of  work 
gets  a  pari,  she  plunges  into  an 
orgy  of  beautifying,  bathing  her 
soul  in  delight." 


drives  a  great  black  sedan  and  out 
steps  Priscilla  Dean,  in  tweed  walk- 
ing suit,  her  ankles  looking  a  little 
thick  in  her  heavy  walking  shoes. 


47 


MOU-W.'OOO  C»LifOMlA 


Priscilla  is  another  favorite  of  the 
operators.  She's  not  "upstage"  at 
all — the  operators  would  soon  take 
it  out  of  her  if  she  were,  and  she 
has  a  racy  line  of  talk  that  "in- 
trigues'' her  blase  audience.  A  story 
Priscilla  told  as  she  submitted  grace- 
fully to  a  manicure  was  of  a  visit  of 
censors  to  Universal  City.  Priscilla's 
free  soul  was  terribly  cramped  by 
the  onslaught  of  mass  morality ;  she 
put  her  foot  in  it  every  time  she 
opened  her  mouth,  until  a  censor 
who  had  gotten  temporarily  de- 
tached from  morality  blew  in.  She 
was  a  white-haired,  handsome,  dash- 
ing woman  of  fifty.  She  strode  up  to 
Priscilla,  offered  her  cigarette  case 
and  demanded  a  match,  all  before 
she  shook  hands  with  the  star  she 
had  come  from  Canada  to  sec.  Pris- 
cilla says  that  she  bloomed  again, 
struck  her  stride,  and  had  a  royal 
good  time,  in  spite  of  the  horrified 
withdrawal  of  the  other  censors. 
Priscilla  takes  all  the  trimmings  at 
a  beauty  parlor,  and  she  looks  it 
when  she  comes  out — all  lit  up  like 
a  Christmas  tree — sparkling  like  a 
black  diamond,  if  there  is  such  a 
thing. 

OnE  of  the  most  fastidious  stars 
in  filmdom  is  a  certain  well-known 
blond  ingenue.  She  comes  by  it  hon- 
estly, for  her  mother  and  her  sister, 
according  to  the  beauty  parlor  girls, 
are  just  as  fastidious.  In  this  case  the 
results  certainly  seem  to  justify  the 
pains,  if  not  the  pain — caused  to 
those  who  work  on  her.  I  saw  her 
keep  a  manicurist  an  hour  and  a  half 
over  her  ten  little  pink  nails,  then 
demand  that  they  be  done  over 
again.  In  getting  that  manicure, 
she  tried  to  give  the  experienced 
manicurist  lessons  on  nail-carving, 
illustrated  with  frequent  uses  of  the 
file  herself.  Half  an  hour  is  usually 
ample  time  in  which  to  dress  up  a 
set  of  well-cared-for  nails.  When 
the  hour  and  a  half  was  up,  the 
operator  put  her  tongue  in  her  cheek 
and  sweetly  made  out  a  check  for  a 
dollar  and  a  half,  the  price  of  two 
manicures.  The  star  stormed  so  that 
her  lovely  pink  and  white  face  was 
rich  as  a  Turner  sunset,  but  she  had 
to  pay  the  bill.  Her  mother's  perma- 
nent wave,  which  she  had  put  in  after 
prayer  and  fasting,  makes  her  look 
ten  years  younger  and  compensates 
for  the  hours  of  indecision  she  put  in 
over  it. 

Clara  Horton,  whose  ash  blonde 
hair  was  her  most  distinguishing — 
her  enemies  might  cattishly  say  her 
only  distinguished  —  characteristic, 
spent  hours  with  samples  of  brown 
hair,  a  hair  specialist,  and  mysteri- 
ous little  bottles  of  dye,  and  finally 
decided  to  change  that  silvery  blonde 

48 


glory  into  a  golden  browrn.  The  re- 
sult may  be  seen  in  her  next  picture. 
Curtain,  please!  As  for  Clara  her- 
self, according  to  the  character  anal- 
yst who  shampoos  hair  for"a  living, 
Clara  is  a  sweet  little  thing  who  will 
not  set  the  world  on  fire — attic  not 
especially  well  furnished,  but  sw-cet 
and  clean. 

The  woman  who  tries  to  conceal 
her  bad  points  from  beauty  parlor 
workers  is  rare,  but  occasionally  one 


drifts  in.  For  instance,  Mrs.  Leslie 
Carter  phoned  for  a  private  recep- 
tion, an  appointment  with  a  person 
who  knew  her,  entered  by  a  private 
side  door,  had  her  hair  touched  up 
with  henna  and  left  as  secretly  as 
she  came.  There  is  no  vanity  like 
the  pitiful  vanity  of  the  aging  beau- 
ty. Sarah  Bernhardt  has  it.  Even 
her  own  maid  has  never  seen  her  try 
to  take  a  step  on  her  artificial  limb. 
She  is  carried  in  a  sedan  chair 
everywhere. 

A  PERSON  whom  the  beauty- 
aiders  love  to  see  coming  is  Myrtle 
Stedman  —  Myrtle  of  the  gracious 
forties,  with  her  usually  enormous 
young  man  son  in  her  wake — Lin- 
coln Stedman  of  the  movies  also. 
Without  a  beauty  parlor  Myrtle 
Stedman,  who  is  now  creating  the 
title  role  in  The  Famous  Mrs.  Fair 
for  Louis  B.  Mayer,  would  be 
doomed  to  a  settling  period  and  then 
a  series  of  grand  dame  and  mother 
roles.  With  the  white  magic  of 
beauty  culture,  Myrtle  Stedman's 
crow's  feet  arc  kept  properly  in 
abeyance,  her  beautifully  round 
cheeks  are  kept  firm,  her  incipient 
double  chin  is  made  to  behave,  her 
gorgeous  nut  brown  hair  is  kept 
alive  and  ambitious,  and  her  eyes 
are  kept  young.  When  the  beauty 
parlor  has  had  its  complete  sweet 
way  with  her,  she  is  one  of  the  most 
beautiful  women  in  pictures. 

"There  isn't  a  sweeter  woman  to 
work  on  than  Miss  Stedman."  my 
friend  the  gossip  tells  me.  .  "She  is 
patient  and  jolly  and  tips  liberallv." 
Th  esc  are  the  three  cardinal  vir- 
tues from  the  operator's  viewpoint. 

The  tradition  that  motion  picture 
stars  are  outrageously  lavish  spend- 
ers does  not  bear  investigation  in  a 
beauty  parlor.  The  seasoned  film 
player  bargains  as  industriously  as 
her  sister-under-the-skin,  the  busi- 
ness woman.  She  buys  what  she 
needs  in  hair  goods,  cosmetics,  per- 
fumes and  such,  but  she  buys  less 
recklessly  than  the  average  society 
woman.  Helen  Ferguson  in  shop- 
ping at  this  West  Seventh  street 
"emporium  of  beauty"  was  asking 
the  other  day  for  a  perfume  that 
wasn't  so  expensive  that  it  would 
remind  her  of  dropping  liquid  plat- 
inum on  her  hankies.  But,  then, 
Helen  was  "resting." 

When  a  player  long  out  of  work 
gets  a  part,  she  plunges  into  an  orgy 
of  beautifying  —  partly  to  prepare 
herself  for  work  and  largely  to  bathe 
her  soul  in  deligfht.  For  instance, 
when  Dorothy  Wallace  got  an  im- 
portant part  in  Merry-Go-Round, 
she  rushed     (Continued  on  Page  74) 


miles 


Make  You  Happy 

By  Virginia  Woods 


_  SMILE,  observes  the  diction- 
ary, is  "a  pleased  expression  ;  a  bless- 
ing or  favor;  a  drink  of  liquor." 

The  liquid  smile  is  supposed  to 
have  gone  out  when  the  Volstead 
Act  came  in.  But  the  rest  of  Noah's 
(or  was  it  Daniel's?)  definition  still 
holds  good. 

A  smile  is  a  blessing.  And  for  once, 
its  virtue  reacts  upon  the  giver.  Both 
benefit  by  it,  the  bestower  and  be- 
stowed upon.  Like  going  to  church,  it 
makes  us  feel  so  good  that  we  won- 
der why  we  do  not  do  it  more  often. 

And  it  is  so  easy.  Anybody  can 
do  it. 

Except  the  undertaker. 


<J  //  is  Wallie  lieid's  endearing, 
■warm  grin  that  we  will  remember 
long  after  the  memory  of  his  ex- 
cellent profile  has  died  away. 


Q  D  o  ug  Fairbanks 
smiled  his.  way  to 
the  very  top  rung 
of  the  ladder  of 
Success. 

Photo  by  Evans. 


They  are  contagious, 
are  smiles.They're  as  catch- 
ing as  a  yawn  in  a  crowded 
street-car.  When  you  have  caught 
the  disease,  you  will  recognize  the 
symptoms:  a  warm  feeling  about  the 
heart  and  a  general  relaxation  of  the 
whole  body. 

A  smile  does  you  as  much  good  as 
a  brisk  walk  and  tones  up  the  old 
system  better  than  a  whole  bottle  of 
beef  and  iron.  Did  you  ever  see  a 
smiling  dyspeptic? 

There  are  no  set  times 
or  places  for  smiles.  They 
are  welcome  almost  every- 
where. Of  course,  there 
are  times  when  a  smile 
ceases  to  be  a  virtue  and 
becomes  an  insult,  such  as 
when  the  dentist  predicts 
cheerfully  that  it  isn't  going  to 
hurt  a  bit  and  when  the  income 
tax  collector  accepts  your  last  sou. 
But  in  most  situations  a  real,  heart- 
warming, genuine  smile  is  as  welcome 
as  a  raise  in  salary  and  much  easier 
to  get. 

A.  COMMERCIAL  value  is  attached 
to  smiles  as  we'll.  Not  for  senti- 
mental reasons  do  solid  business  men 
keep  a  "Smile"  sign  tacked  over  their 
desks.  Few  business  men  are  Polly- 
annas.  But  they  find  that  a  pleasant 
expression  and  a  genial  smile  is  an 
economic  asset. 

A  pleasing  smile  means  purple  lim- 
ousines, ermine  wraps  and  other  at- 
tractive things  to  the  actress.  Can 
you  imagine  yourself  standing  in  line 
to  see  a  film  star  who  never  smiles? 
( Always  excepting  Buster  the  Frozen- 
Faced,  who  makes  up  for  his  niggard- 
liness in  smiles  for  home  consump- 
tion by  the  genius  with  which  he  stirs 
our  own  risibilities.) 

When  tragedies  rule  the  boards,  the 
management  has  to  "paper"  the  house. 
It  takes  a  comedy  or  a  musical  show 
to  bring  out  the  S.  R.  O.  sign.  "Laugh, 


•5  Priscilla  Dean  wears  the  smile  of 
conquest,  assurance  bom  of  a 
magnificent  woman's  charms, 
strong  and  fearless. 

Photo  by  Frculich. 


and  the  world  laughs  with  you.  Weep, 
and  it  gives  you  the  laugh." 


D 


OUGLAS  FAIRBANKS  has 
ever  found  a  smile  the  passport  to 
fame.  A  smile  is  the  best  tonic  he 
ever  took,  he  says.  "I  try  to  waken 
in  the  morning  with  a  smile,"  says 
Doug.  "If  you  keep  smiling  until  ten 
o'clock  in  the  morning,  you  can't  help 
smiling  the  rest  of  the  day," 

Doug  ought  to  know.  He  smiled 
his  way  through  "Happiness"  to  the 
very  top  rung  of  the  ladder  of  Success. 

Wally  Reid's  broad,  boyish  grin 
brought  him  fame,  wealth  and  adora- 
tion. It  is  his  smile,  his  endearing, 
warm  smile,  that  we  will  remember 
long  after     (Continued  on  Page  76) 


HOllVWOOO  CALlf  ORNI*i 


A 


W  HITE  shaft  of  light  shot  up 
against  a  starless  Hollywood  sky. 
flickered,  died  away  and  flared  again, 
this  time  steadily,  remorselessly. 

"They're  shooting  night  stuff  on  the 
Fox  lot  again,"  commented  a  passerby, 
as  we  paused  before  the  shadowy  en- 


trance to  the  home  of  so  many  virile 
dramas  of  the  great  open  spaces  where 
men  are  men.  "Don't  those  guys  ever 
sleep?" 

It  wouldn't  seem  so.  With  eleven 
companies  grinding  out  screen  enter- 
tainment, the  Fox  studio  has  Mark- 


Twain's  fabled  one-armed  paper- 
hanger  with  the  hives  looking  like  an 
I.  VV.  VV.  by  comparison. 

And  most  of  the  companies  are 
working  day  and  night,  we  found, 
passing  through  the  "front  office," 
chastely  decorated  with  huge  enlarged 


] 


knocked  off  work,  while  those  who 
were  "working"  tried  to  apply  their 
Coue  to  convince  themselves  that 
sleeveless  evening  gowns  or  bathing 
suits  were  just  the  thing  for  a  brisk 
winter  evening. 

Over  on  stage  one,  where  Shirley 
Mason  was  earning  her  daily  limou- 
sine by  overtime  work  in  Pawn  Ticket 
210  the  company  was  marking  time 
while  Scott  Darling,  Shirley's  director, 
exhorted  the  diminutive  star  to  f'r 
gawd-sake  cry.    "Show  a  little  emo- 
tion," he  urged  persuasively  in  a  tragic, 
haunted  voice.   "You're  cold,  you're 
hungry,  your  mother  is  dying  and  your 
income  tax  comes  due  tomorrow.  .  .  . 
Come  on,  that's  the  girl,  cry.  Cry 
some  more  .    .    .  harder 
ho-ld  it.  .  .  .    Awright,  cut !  That's 
great !  Fine !  Thought  for  a  while  I'd 
have  to  use  an  onion,. though." 


O 


Crayon  portraits  of  William  Fox, 
strangely  reminiscent  of  the  portraits 
of  Uncle  Abner  and  Aunt  Azrael  that 
we  used  to  park  on  easels  in  the  par- 
lor next  to  the  waxed  funeral  wreath 


in  the  glass  case. 
On  almost  every 


the  great 


arcs  poured  their  blinding  light  upon 
laboring  companies.  The  fortunate 
players  temporarily  nut  of  the 
camera's  eye,  huddled  themselves  in 
steamer-rugs  and  extra  wraps,  for  the 
night  air  is  chilly  in  Sunny  California, 
after    the    well-advertised    sun  has 


N  the  edge  of  the  circle  of  lights, 
Viola  Dana,  accompanied  by  a  strap- 
ping, athletic-looking  chap,  watched 
her  sister  emote  and  snuggled  deep 
into  the  soft  shelter  of  her  squirrel 
wrap. 

Over  on  stage  two,  where  the  Kliegs 
merely  intensify  the  gloom,  Jack  Gil- 
bert is  making  a  film  version  of  the  old 
George  Barr  McCutcheon  favorite, 
Truxton  King.     And  a  fine,  husky 
Yankee  adventurer  he  makes.  Just 
around  the  corner  the  two  Farnums 
are  working — on  different  pictures,  of 
course— Dustin  in  a  picture  with  the 
intriguing  title  of  The  Three  Who 
Paid,  and  William  the  Mighty  in  Brass 
Commandments.    William  says  night 
stuff  helps  him  to  reduce.   "In  which 
case,"  remarks  his  director,  Emmett 
Flyn'n,  "don't  make  any  engagements 
for  any  evening  for  the  next  year  or 
so." 

If  you  examine  the  bird's-eye  view 
of  the  Fox  lot  above,  you  will  see 
eight  little  bungalows,  like  doll-houses, 
standing  neatly  in  rows.    They  are 
dressing-rooms  for  the  stars.  The  sec- 
ond from  the  end  in  the  first  row  be- 
longs to  "Buck"   (pardon,  Charles) 
Jones,  the  handsomest  buckaroo  in  the 
fillums.   "Buck"  isn't  working  tonight, 
but  during  the  daytime  he  is  making 
another  of  the  rip-roaring,  hell-for- 
leather  westerns,  this  one  being  titled 
The  Footlight  Ranger. 

The  more  palatial  bungalow  tucked 
away  in  the  corner  of  Western  and 
Sunset  boulevard  belongs  to  Tom  Mix. 
No,  the  big,  barnlike  affair  just  this 
side  of  it  isn't  a  special  garage  for 
Tom's  big  Duesenberg,  though  you 
might  well  be  excused  for  thinking  so. 
They  make  Tom  keep  his  car  outside, 
where  there's  plenty  of  room.  The 
building  you  mention  is  Tom's  private 
gymnasium   [Continued  on  page  24) 


HOilVVVOOO  C*KFOAMt«t 


AUGHT  i 


n 


Ct 


The  government  is  no- 
toriously unsympathe- 
tic about  sacrificing 
good  timber,  even  for 
Art.  So  when  Louis 
B.  Mayer  wanted  a 
first-class,  snappy  for- 
est fire  for  his  Reg- 
inald Barker  produc- 
tion, Hearts  Aflame, 
he  had  to  build  Aw 
own  pine  forest.  This 
photograph  (at  left) 
shows  the  forest  after 
the  first  week  of  tree- 
planting. 


•I  (Abozre)  The  forest  fire  after 
the  pines  had  been  drenched 
with  kerosene  and  set  ablace. 
Through  half  a  mil-e  of  raging 
flames,  Anna  Q.  Nilsson  drove 
a  locomotive,  incurring  painful 
burns  thereby.  Additional  casu- 
alties: one  camera  man,  a  per- 
fectly sweet  frock  and  a  beau- 
tiful blonde  transformation 
which  had  to  be  restored  before 
further  scenes  could  be  shot. 
Such  is  the  price  of  fame ! 


52 


fa  HOilVWOOO  C*tl»OR«»A 


WEDDING  BELLS  FOR  CONNIE? 

«J  Will  Constance  Talmadge  marry  her 
old  admirer,  Irving  Berlin,  rioted  sontj 
writer?  Broadway  gosstps  say  yes. 
Connie  doesn't  say  anything.  No,  the 
gentleman  mm  her  is  not  Irving. 

International  Photo. 


q  "Alone  at  last!"  sighs,  this  happy  pair  tn  their  undersea  ren- 
dezvous From  Wonders  of  the  Sea,  being  made  by  J.  t. 
Williamson  in  the  Bahamas,  West  Indies.  One  of  the  wonders 
pictured  is  Lulu  McGrath. 


TWO  LITTLE  BOYS  AT  PLAY 
What  these  movie  actors  don't  think  of! 
Jack  Holt  and  Raymond  Hatton  arc  regu- 
lar cut-ups  around  the  Lasky  lot.  Really, 
their  camera-men  just  about  die  laughing 
at  the  killing  things  they  do! 


KUDIE  STARTS 
MARATHON 
Rodolph'  the  Magnificent 
(left)  '  and  the  former 
president  of  the  board  of 
aldermen  (right)  start 
the  field  of  150  Mara- 
thoners  in  New  York 
City  as  one  of  the  Co- 
lumbus Day  features. 

International  Photo. 


IV HO  SAW  LOUNGE  LIZARD? 
^  A  portrait  of  a  gentleman  who  packs  a  mean 
punch.    //  you  don't  believe  it,  tell  him  $1500  a 
week  is  a  living  wage.  Of  course  we  don't  hove 
to  explain  to  you  that  this  is  Rndie  Valentino. 

IS  THIS  TO  TAKE  OUR  RUDIE'S 
PLACE? 

•j  A  thousand  feminine  voices  raise  the  chorus, 
"NOP  Charles  De  Roche  fort,  late  of  that 
dear  Paris,  has  been  imported  to  play  the 
leading  role  in  The  Spanish  Cavalier,  in 
which  Rndie  was  to  have  been  featured. 

International  Photo. 


54 


"GANGWAY!"  SAYS 
JACKIE- 

q  Jackie  Coogan  shows 
his  dad  a  fcxa  things 
about  burning  up  the 
road.  When  Jackie 
steps  on  the  gas  in  his 
Special  8,  other  cars 
just  naturally  have  to 
take  his  dust. 


BEBE  GETS  BOUQUETS 
q  When  Bebe  Daniels  stepped  off  the 
train  at.  Chicago  a  porter  thrust 
into  her  hands  a  huge  bouquet. 
After  the  waiting  cameramen  had 
snapped  Bebe,  she  discovered  that 
a  card  attached  showed  that  the 
Posies  were  meant  for  Lady  Mount- 
batten,  who  was  on  the  same  train. 
But  what's  a  mere  English  noble- 
woman compared  to  a  cinema 
queen.  International  Photo. 


TOO  LATE,  GIRLS 
«  Marjoric  Grant  saw  him  first  and  married  him  in 
Chicago.  Now  she's  Mrs.  Vincent  Coleman  and  has 
left  Ed  Wynn's  revue  to  accompany  her  husband  to 
New  York,  -where  he  is  taking  male  leads  on  both 

stage  and  screen.  International  Photo. 


HOU.VWOO0  CALIFORNIA 


HE  LOVES  HIS  ART 
<1  Tommy  Mcighan  is  happy  in  his  work  and  he 
dearly  loves  his  teacher.  Lcatricc  Joy  looks  as 
if  she  just  knows  somebody  is  peeking. 


DOWN  ON  THE  FARM 
<|  Ctillen  Landis  milks  a  mean  cow,  if  he  does 
say  it  as  shouldn't,  and  Viola  Dana  and  Bruce 
Guerin  make  an  appreciative  audience.  But  oh, 
Viola,  Viola,  since  when  have  they  been  wear- 
ing shoes  like  yours  down  on  the  farm! 


MAE  MARSH  IN  LONDON 

<d  Mac  Marsh  adds  value  to  the  prises  given  at  the  masked  ball 
given  for  charity  at  the  Palais  de  Danse,  London,  by  distributing 
them  with  her  own  fair  hands.  International  Photo. 

ALMA  RUBENS  RETURNS 
•I  Just  before  Alma  Rubens  stepped  off  the  S.  S.  Olympic  onto  American 
■  soil  after  her  European  trip,  she  stopped  to  smile  prettily  for  Screen- 
land  readers.    Miss  Rubens  went  to  Paris,  Nice  and  Monte  Carlo  to 
film  some  of  the  scenes  in  her  new  Cosmopolitan  picture,  Enemies  of 
^  Women.  International  Photo. 


56 


ENIE,  MEN  IE,  MINIE,  MO, 
FOUR  MEN  UNDER  THE  . 
MISTLETOE! 

q  Who  will  be  the  lucky  man? 
Malcolm  McGregor  t  h  i  n  k  s 
that  he  will  be,  because  Viola 
Dana  m  looking  at  him.  David 
Butler  is  modestly  unsuspect- 
ing and  Allan  Forrest  (Mr. 
Lottie  Pickford)  is  his  own 
gay,  dashing  self.  But  if  any- 
body gets  the  kiss,  we'll  bet 
that  the  gent  in  the  store 
clothes  gets  it.  Cause  why? 
Cause  he's  Harry  Beaumont, 
Ui's  director,  and  directors 
have  to  be  kept  good-natured. 
That's  why. 


Hf 


1 1 

A 


NORMA S 
NAMESAKE 
q  Norma  Talmadgc 
and  Cecelia  Alice 
Norwood  of  San 
Francisco,  the  most 
attractive  girl-baby 
twins  of  Central 
California.  With 
names  like  theirs, 
of  course  they're  in 
pictures. 

International  Photo. 


MARY.  DOUG  AND  GEORGIE 
q  Mary  and  Doug  stop  off  in  Chicago  to  attend  the 
premiere  of  Robin  Hood  in  George  M.  Cohans 
Grand  Theatre.  "Von  lucky  dog,"  says  Georgie  to 
[f0Uq  International  Photo. 


i 


\ 


LONDON  PAPERS  PLEASE  COPY 
q  (Left)  Mile.  Cecile  Sorel,  star  of  the  Comcdic  Fran- 
caise.  is  stealing  Elinor's  stuff.  Note  the  nifty  bonnet 
and  coat  trimmings  of  leopard  skin  which  Cecile 
wears  on  board  ship  on  her  way  to  New  York. 

International  Photo. 


(7*  mOCLVWOOO  CALIFORNIA 


LILLIAN  GISH  SAILS  FOR  EUROPE 

1$  Lillian  is  trying  to  make  believe  she's  a 
camera  man,  on  board  the  S.  S.  Provi- 
dence en  route  to  Europe,  but  she  can't 
fool  us.  Camera-men  put  their  hats  on 
back  side  front.  International  Photo. 


ANOTHER  MOTHER'S  BOY 
%  Isn't  Charlie  Ray  the  image  of  his  mother ?  Mr.  Ray,  Sr.,  and 
Whiskers  Ray,  a  movie  star  m  his  <nvtt  right,  are  the  other 
mem  hers  of  this  family  group. 


JACK  KERRIGAN  COMES  BACK 
q  Shooting  the  long  wagon  train  in  The  Cov- 
ered Wagon,  Paramount's  film  version  of 
Emerson  Hough's  epic  of  the  early  West. 
None  other  than  the  old  favorite,  J.  War- 
ren Kerrigan,  «  returning  to  the  screen  in 
this  picture. 


BUT  WHY  SIT  SO  FAR 

APART? 
q  Presenting  Mr.  and  Mrs. 
Jack  Pkkford  enjoying  a 
roller-chair  ride  at  Atlantic 
Gty.  Like  all  bridest  Mrs. 
Marilyn  Miller  Pickford 
keeps  her  left  hand  with  its 
big  diamond  well  in  evidence. 

Imtcrnafuntal  Photo. 


'  HOCLVWOOO  CALIFORNIA 


^  Are  the  blazing  arc  lights 
of  the  studios  literally  burn- 
ing out  the  eyes  of  our 
screen  stars?  This  article 
explains  why  film  actors 
dread  "Klieg  Eyes"  as  an 
ever-present  menace. 


ovie  Actors  Going  Blind? 


By  Athene  Farnsworth 


Wallace  Reid  Threatened  With 
Blindness !  Film  Idol  May 
Never  Act  Again! 


HUS  the  newspaper  headlines, 
blaring  forth  the  rumors  that  were 
being  buzzed  up  and  down  Holly- 
wood Boulevard  and  around  the 
studios.  What  tragic  fate  had  over- 
taken this  youthful  screen  star,  at 
the  very  height  of  his  career? 

"Klieg  eyes,''  said  the  wise  ones. 
"Klieg  eyes,"  the  dreaded  menace 
that  always  hangs  over  the  head  of 
those  who  work  within  the  circle  of 
the  flaming  studio  lights,  had  once 
more  hit  Wally,  the  debonaire. 


T 


HERE  is  more,  a  very  great  deal 
more,  to  this  business  of  being  a 
screen  star  than  dressing  up  in 
fine  clothes  and  strutting  before  a 
camera.  And  none  know  this  better 
than  Wallace  Reid. 

Three  times  before  the  last  attack 
have  the  great  Klieg  lights  that 
flood  the  studio  sets  literally  burned 
out  Wally 's  twinkling  gray  eyes. 
Only  absolute  quiet  and  darkness 
tould  restore  to  the  actor  his  sight. 
.  .  .  Even  then  there  was  a  chance 
that  the  damage  had  been  done.  .  .  . 
Wherefore  Wally  was  packed  off  to  a 
sanitarium  where  he  could  rest. 

Now  the  vacation  has  cured  the 
poor,  abused  eyes,  it  is  said,  and 


Wally  is  to  return  to  w7ork.  Until 
the  next  time.  .  .  After  that,  what? 

EvERY  person  on  the  set  stands 
in  constant  danger  from  the  spectre 
of  "Klieg  eyes."  The  powerful  arcs 
may  mean  blindness  to  whomsoever 


<1  Three  times  have  the  powerful 
Klieg  lights  rendered  Wallace 
Reid  temporarily  blind.  One  more 
attack  and  then    ....  what? 


rashly  exposes  his  precious  eyes  to 
the  burning  brilliance  of  the  lights. 

These  mammoth  Klieg  lights, 
manufactured  by  Kliegl  Brothers  of 
New  York,  are  used  in  the  "shoot- 
ing" of  all  indoor  scenes.  Often  the 
most  exquisite  effects  of  outdoor 
scenery  are  obtained  by  sets  built  in 
the  studio  and  illuminated  by  the 
Klieg  flood  lights  or  naval  search- 
lights. These  great  arcs  and  sun- 
lights often  throw  a  radiance  of  two 
million  candle-power.  They  consist 
of  burning  carbon  set  in  a  great  pol- 
ished metal  reflector,  often  three  feet 
long-  and  two  and  one-half  feet  in 
width.  The  light  is  then  thrown  on- 
to the  set  through  a  lens. 


T 


HERE  are  two  theories  as  to  the 
cause  of  Klieg  eyes.  Some  believe 
that  it  is  the  carbon  dust,  minute 
particles  of  which  get  into  the  eyes 
of  the  people  on  the  set  and  as  the 
fine  dust  is  practically  red  hot  it 
burns  the  eyeballs  of  the  victim. 

Another  point  of  view  is  that  it 
is  the  intense  heat  and  the  volume 
of  light  from  the  reflectors  that  do 
the  damage.  At  any  rate,  Klieg  eyes 
are  dreadfully  painful.  This  malady 
causes  the  eyeball  to  become  in- 
flamed, the  eyelids  to  swell  and  burn 
and  the  tears  to  flow  in  streams  of 
hot  liquid. 

Sometimes,  only  ten  minutes  on 


60 


MOllVWOOO  C*L!FO«M'A 


<J  Directors  as  well  as  stars  succumb  to  the  terrible 
malady  of  Klieg  eyes.  Cecil  B.  DeMille  recently 
suffered  a  severe  attack  while  filming  Adam's  Rib. 

Photo  by  Melbourne  Spurr. 

a  set,  will  give  a  person  Klieg  eyes ; 
at  other  times,  a  whole  day  may  be 


filming    of  Cecil 
B.  DeMille's  latest 
feature,   Ada  m's 
Rib,   a   huge  set 
was   used  calling 
for  several  of  the 
mammoth  open 
flood  lights.  At  5 
o'clock,  when  the 
scene  was  finished 
everyone  went 
home,  apparently 
in  good  health.  By 
7  that  evening 
calls  began  com- 
ing to  the  Para- 
mount offices  tell- 
ing  of  members 
of   the   cast  suf- 
fering   from  a 
severe   attack  of 
Klieg  eye.  Scarce- 
ly a  person  on  the 
set  that  day  es- 
caped.  Even  Mr. 
DeMille  was  not 
immune,  and  when 
they   were  again 
back  for  work  each 
had  a  sad  tale  to  relate  of  intense  suf- 
fering.  Favorite  remedies  for  Klieg 


one  of  the  Hollywood  studios,  insists 
that  Klieg  eye  is  nothing  more  than 
conjunctivitis  and  that  a  person 
could  easily  contract  the  same  malady 
from  exposure  to  the  sun's  rays  if 
they  gazed  at  it  for  any  length  of 
time,  or  if  it  were  nearer.  It  is  the 
direct  violet  ray  on  the  unprotected 
eye  that  does  the  damage  and  is 
more  frequently  caused  during  the 
photographing  of  "close-ups." 

Mr.  Graham  thinks  that  careless- 
ness and  neglect  on  the  part  of  the 
actor  or  actress  are  the  cause  of 
more   Klieg  eye  than  the  actual 
menace   of  the  lights  themselves. 
"They  lock  the  barn  door  after  the 
horse  is  stolen,"  for  a  second  attack 
of  this  painful  lesson  is  not  to  be 
courted.    Mr.  Graham  gives  a  sim- 
ple method  for  the  care  of  the  eyes 
to  avoid  difficulties.    "After  leaving 
the  set,  the  eyes  should  immediately 
be   washed   with   collyrium,  then 
again  once  or  twice  before  going  to 
bed.    If  this  procedure  is  followed 
bv  a  little  boric  salve  the  percentage 
of  Klieg  eyes  would  be  practically 
nil,"  he  says. 


T 


at  otner  umes,  a  wnuie  —  ,,"7  „vll„i 

gone  through  successfully  and  about    eyes  range  all  the  way  from  several 


—    o —   -*  . 

an  hour  after  leaving  the  set,  the 
demon  Klieg  begins  to  put  in  an 
appearance  and  the  patient  knows 
he  is  in  for  a  wakeful  evening.  The 
attack  may  be  cleared  up  in  a  few 
hours  or  it  may  last  two  days.  The 
real  danger  lies  in  the  victim  at- 
tempting to  come  back  on  a  set  be- 
fore his  eyes  are  thoroughly  recov- 
ered. There  have  been  cases  where 
several  severe  Klieg  burnings  have 
laid  up  an  actor  for  two  weeks  in  a 
darkened  room. 

SoME  authorities  claim  that  blue 
eyes  are  more  susceptible  than 
brown  and  that  large  eyes  are  at  a 
disadvantage  where  Klieg  lights  are 
concerned.  Just  as  a  fair  skin  falls 
under  the  special  spite  of  the  sun, 
so  his  understudy,  the  Kliegs,  seem 
to  have  a  special  antagonism  for 
blondes,  who,  unless  heavily  protect- 
ed by  grease  paint,  are  tanned  by 
the  arcs  unmercifully. 

Six  years  ago,  hardly  a  day  went 
by  at  the  studios  without  a  case  of 
Klieg  eye.  Sometimes,  the  whole  ac- 
tion of  the  unit  was  paralyzed  by 
attacks  of  this  hoodoo  of  the  motion 
picture  lot.  Now,  however,  cases 
are  becoming  more  rare.  Improved 
carbon  has  aided  to  a  large  extent 
and  the  lights  have  ground  glass 
covers,  except  for  huge  sets  where  a 
great  many  people  must  be  photo- 
graphed. 

In  such  cases  even  the  director  is 
likely  to  suffer  an  attack  of  swollen 
eyelids  and  stinging  eyes.    In  the 


drops  of  castor  oil  in  the  eye  to  ice 
packs,  boric  salve  and  raw  potato 
poultices-. 

Mr.  DeMILLE  believes  that  an 
ounce  of  prevention  is  worth  a  pound 
of  cure  arid  has  his  eyes  bathed  with 
collyrium  or  a  solution  of  boric  acid 
every  evening  after  leaving  the  set. 
This,  he  believes,  will  prevent  a  pos- 
sible attack  of  Klieg  eyes  under  all 
ordinary  circumstances. 

Every  person  on  a  set  is  warned 
not  to  look  at  the  lights  while  acting 
and  to  wear  dark  glasses  between 
scenes.  It  is  a  peculiar  fact  that  the 
rays  of  light  from  the  carbon  lamps 
have  a  strong  power  of  attraction 
and  one  not  realizing  the  danger  un- 
consciously lets  his  gaze  rest  on  the 
floods  of  brilliant  pale  blue  fire 
thrown  on  the  scene.  This  is  often 
the  reason  that  so  much  unnecessary 
suffering  from  burned  eyes  is  endured. 

Several  instances  of  where  visi- 
tors have  had  attacks  of  Klieg  eye 
arc  given  in  support  of  the  theory 
that  it  is  the  fine  carbon  dust  blow- 
ing in  the  eyes  that  causes  the  in- 
flammation. People  standing  at  the 
side  of  the  set,  not  even  within  range 
of  the  direct  rays  of  the  powerful 
lights,  have  sometimes  suffered 
from  Klieg  eyes.  All  authorities 
claim  that  the  condition  of  the  eyes 
has  a  great  deal  to  do  with  their 
susceptibility  to  the  malady. 

On  the  other  hand,  C.  B.  Graham, 
graduate  nurse  and  first  aid  man  at 


HE  pain  alone  is  not  the  worst 
trouble  of  this  disease.  The  appear- 
ance of  the  patient  plays  havoc  with 
his  or  her  vanity.  Swollen,  inflamed, 
tear-flooded  eyes  arc  not  the  gen- 
eral ideal  of  perfect  beauty.  How 
different  the  soulful  brown  wells  of 
expression  appear  when  viewed 
through  a  maze  of  tears— not  of  the 
glycerine  variety — and  the  long  black 
lashes  of       (Continued  on  Page  76) 


q  Blue  eyes  are  viore  susceptible 
than  brown  to  Klieg  eyes,  and 
blondes,  unless  protected  by 
grease-paint,  are  prone  to  tan  un- 
der the  lights.  Pretty,  blonde 
Wanda  Hawley  has  to  take  double 
precaution  against  Klieg  eyes. 


6 


The  Infant  Industry 
earns  to  Talk 


^  The  "Talking  Movie"  is  here  at  last. 
How  sound  is  synchronized  with 
action  on  the  screen  is  explained  in 
this  interesting  article. 


*j  Talking  movies  would  broaden  the  scop-e 
of  dramatic  interpretation,  insists  Agnes 
Ayres.  Lessons  in  voice  culture  would  not 
be  so  great  a  task  for  an  ambitious  artist 


JL 


ALKING  movies"  are  about 
to  become  an  accomplished  fact,  after 
a  decade  or  more  of  experimentation. 

Lee  DeForest,  of  wireless  and  radio 
fame,  has  invented  an  instrument, 
the  phonofilm,  that  photographs  sound, 
cither  vocal  or  instrumental,  which 
snychronizes  perfectly  with  the  actions 
of  the  motion-picture  actors  on  the 
screen. 

The  phonofilm  is  used  in  conjunc- 
tion with  the  regulation  motion-picture 
camera.  The  film  used  is  the  ordi- 
nary cinema  film ;  the  picture  appears 
upon  one  side  of  this  film  and  along 
the  edges  are  recorded  a  series  of 
lines,  similar  in  appearance  to  the 
lines  on  a  phonograph  record. 

A  TUBE  which  De  Forest  calls  a 
"photion" — a  glass  tube  with  a  bulb- 
ous end,  is  fitted  inside  the  Bell- 
Howell  camera,  above  the  objective. 
This  "photion"  generates  a  powerful 
violet  light,  when  electrically  excited, 
that  photographs  sound  as  transfer- 
red through  a  tiny  slit  on  the  swiftly 
moving  film. 

The  sounds  are  picked  up  by  a  con- 
verter similar  to  a  telephone  micro- 
phone, but  much  more  sensitive.  This 
converter  turns  the  sounds  into  tele- 
phonic currents,  which,  in  turn,  pass 
into  the  "audion;"  from  this,  power- 
ful electric  currents  pass  into  and  ex- 
cite the  "photion." 

The  picture  may  be  projected  upon 
the    screen    without   projecting  the 


sound  also,  or  both  may  be 
projected  simultaneously, 
with  perfect  synchroniza- 
tion, by  making  a  simple 
connection.  In  DeForest's 
very  successful  demonstra- 
tion in  Berlin  recently,  the 
figure  of  a  man  playing  the 
violin  was  flashed  upon  the 
screen;  the  movements  of 
his  bow  were  in  perfect  ac- 
cord with  the  strains  of 
music  from  the  instrument. 
The  sound  is  projected 
by  the  ordinary  motion-picture  pro- 
jector. Turn  the  crank  and,  presto! 
— Al  Jolson  or  Ethel  Barrymore  or 
Will  Rogers  .  .  .  hear  'em  and 
see  'em  for  22  cents ! 

It  is  possible,  the  inventor  declares, 
to  photograph  as  many  as  ten  differ- 
ent "sound  paths"  on  a  single  film, 
making  it  feasible  to  screen  grand 
opera. 

The  prospect  of  talking  movies  is 
not  entirely  a  pleasing  one  to  stars  and 
directors  of  the  screen.  The  opinions 
of  those  who  may  be  vitally  affected 
by  such  an  innovation  differ 

Rupert  Hughes,  author, 
playwright,  director,  fears 
that  sound  is  likely  to  work 
more  harm  than  good  to 
the  industry. 

"A  voice  coming  from  a 
flat  surface,  even  though 
synchronizing  perfectly 
with  the  movement  and 
muscular  expression  of  the 
pictured  individual ;  would 
probably  create  a  sense  of 
incongruity  in  the  minds  of 
the  audience.  Sound  added 
to  the  personality  on  the  sil- 
ver screen  might  threaten 
concentration,"  Mr.  Hughes 
stated. 

"There  are  many  long 
shots,  cut-backs,  close-ups, 
shooting   from  different 


angles  .  .  .  imagine  trying  to  cut 
and  condense  the  scene,  meanwhile 
matching  music.  Could  close-ups  and 
long  shots  ever  be  made  to  harmonize 
with  sounds  to  fit?  Consider  the 
terrific  resonance  of  a  mob  scene." 

CECIL  B.  DeMILLE  believes  that 
talking  movies  have  a  wonderful  fu- 
ture in  the  educational  field,  but  will 
never  supersede  the  silent  drama.  He 
pointed  out  the  remarkable  possibili- 
ties for  reproduction  of  scientific  ex- 
periments. For  example,  the  show- 
ing of  a  major  surgical  operation  on 
the  screen,  with  the  voice  of  the 
specialist  explaining  each  move  and 
its  significance. 

Douglas      ( Continued  on  Page  80) 


"Could  close-ups  and  long  shots  ever  be 
made  to  harmonize  with  the  natural  sounds 
to  fit?"  asks  Rupert  Hughes,  author  and 
director.  "Consider  the  terrific  resonance 
of  a  mob  scene." 


62 


DESIGNER 
OFFiSHIONS 


Andre-am,  famous  artist 
and  designer  of  ultra 
screen  and  stage  crea- 
tions, formerly  with 
Hickson  in  New  York, 
has  recently  chosen  Los 
Angeles  for  his  future 
home  and  will  establish 
an  elaborate  studio. 
Andre-ani  has  designed 
many  magnificent  suc- 
cesses for  the  best  known 
stars,  and  California  will 
surely  extend  him 
hearty  welcome  to 
artist  colony. 


'Pola  Negri  was  an  inspiration  for  this  creation. 


HOU.VWOOO  C*liVO«JilA 


^T/de  Editors'  PAGE 


Myron  Zobel,  Editor 


Eunice  Marshall,  Associate  Editor 


Vol.  VI 


FEBRUARY,  1923 


No.  5 


THE  TRUTH  ABOUT 
HOLLYWOOD 

The  truth  about  Hollywood! 

The  whole  world  stands  atip-toe  to 
hear  the  real  truth  about  this  City  of 
Romance. 

What  is  Hollywood,  anyway  ? 

The  real  Hollywood  is  ten  times  as 
alluring,  as  fascinating  as  you  imagine 
it  to  be. 

It  is  the  Bagdad  of  the  West,  where 
romance  lurks  in  every  palm-shaded 
avenue,  where  vice  and  virtue  wage 
their  eternal  battle,  and  where  life 
and  love  are  young  and  sweet. 

Because  Screen  land  is  in  and  of 
Hollywood  and  knows  the  truth,  and 
because  it  has  the  sincerity  and  the 
high  courage  to  give  the  world  the 
truth  about  Hollywood,  its  pages  bring 
you  tales  as  romantic  and  fascinating 
as  those  of  the  Arabian  Nights. 


if  you  have  a  split 
lip- 
Around  February  first,  don't  read 
your  March  Screenland.  Because 
our  Big  Burlesque  Number  for  March 
is  going  to  give  you  more  laughs  than 
you  have  enjoyed  in  a  blue  moon. 
Fourteen  great  Hollywood  feature  ar- 
ticles are  scheduled  for  your  delecta- 
tion. Not  a  word  about  what  Sylvia 
Sugar  uses  to  make  her  curls  stay  in. 
Nor  how  much  Harold  Hokum  thinks 
of  the  little  wife.  (His.)  Every  article 
is  going  to  be  as  breezy  as  a  March 
wind,  as  peppery  as  a  hot  tamale.  Bet- 
ter reserve  your  copy  at  your  news- 
dealers' now ! 


WARNING! 

The  name  Screenland  is  being  im- 
itated by  several  small  magazines  and 
trade  papers.  Be  sure  that  you  are 
getting  the  one  and  only  genuine 
"made  -  in  -  Hollywood"  Screenland. 
The  publishers  will  pay  for  informa- 
tion about  infringements  of  our  copy- 
righted name,  "Screenland." 

Readers  are  also  warned  to  beware 
of    magazine    solicitors    who  offer 


HOLLYWOOD  NIGHT 
LIFE" 


or 


'HOW  I  GAINED  TEN  POUNDS 
IN  ONE  WEEK" 

by  Peggy  Hopkins  Joyce 


Peggy  Hopkins  Joyce, 
snapped  in  a  character- 
istic pose,  during  her 
eventful  stay  in  the 
film  capital. 


Read  About  It  in 
SCREENLAND 
for  March 

THE 
BIG  BURLESQUE 
NUMBER 

Out  February  First 


Screenland  at  a  yearly  price  of  less 
than  $2.50.  No  cut-rate  or  short  term 
offers  are  authorized  by  this  company. 


HAVE  YOU  A  LITTLE 

NEPHEW  IN  THE  MOVIES 

FAMILY  pull.  It  is  responsible  for 
many  of  the  terrible  motion  pictures 
for  which  you  slide  your  half-dollar 
under  the  glass  window.  Just  how 
many  pictures  are  ruined  in  order  to 
keep  the  producer's  second  cousin's 
brother-in-law  in  a  good  job  is  shown 
up  in  a  searching  expose  by  Wynonah 
Johnson  in  the  March  issue.  Don't 
miss  it ! 


HOLLYWOOD  DIVORCE  RING 

ThE  formal  charge  of  desertion 
covers  a  multitude  of  indiscretions,  in 
screen  circles  as  elsewhere.  Did  you 
ever  wonder  what  was  the  real,  under- 
lying cause  of  the  famous  film  stars' 
divorces  ?  Just  what  rocks  the  matri- 
monial barks  of  screen  stars  come  to 
grief  upon  is  revealed  in  Screenland 
for  March.   Buy  it  on  February  first. 


N 


A  PRESS  AGENT  CON- 
FESSES 


OBODY  gets  such  a  good  line  on 
the  stars  as  do  the  press  agents.  And 
when  a  press  agent  takes  his  type- 
writer in  his  lap  to  bat  off  a  few  truths 
about  pictures,  after  working  hours, 
the  result  makes  amusing  reading.  You 
won't  want  to  miss  The  Confessions 
of  a  Press  Agent,  written  by  a  clever 
publicity  man,  under  a  nom  de  plume, 
of  course.  In  Screenland  for  April. 


"WILD  INTERVIEWS  I  HAVE 
MET" 


H 


lELEN  FERGUSON,  who  wields 
a  mean  pen  as  well  as  a  grease-paint 
stick,  turns  the  tables  upon  the  com- 
placent star-interviewers  in  a  delicious 
little  exposure  of  the  magazine-writers' 
foibles. 

Don't  miss  it,  in  Screenland  for 
April. 


Published  Monthly  by  Screenland  Publishing  Company 
Publication  Office:  460  Fourth  Street,  San  Francisco,  California  Administrative  and  Editorial  Offices:  Hollywood,  California 
Yearly  subscription  price,  $2.30  in  the  United  States  and  possessions,  Mexico  and  Canada;  in  foreign  countries,,  $3.50.  Single  copies,  25  cents.  Back  num- 
bers, 30  cents.  Entered  as  second-class  matter  April  15,  1922,  at  the  postoffice  at  San  Francisco,  California,  under  the  act  of  March  3,  187V.  previously 
entered  at  the  postoffice  at  Los  Angeles,  California,  as  Screenland  Magazine,  August  27,  1920.  New  York  120  Fifth  Avenue;  Boston,  Little  Building, 
Chicago,  First  National  Bank  Building.  Copyright  1923  by  Screenland  Publish  ing  Co.  All  rights  reserved.  (Member  Audit  Bureau  of  Circulations.)  Address 
all  communications  to  Screenland  Publishing  Co.,  Hollywood,  California.  Permission  to  reprint  material  must  be  secured  from  the  Jscseenlanb  feature 
Syndicate,  Hollywood,  Cal.    Not  responsible  for  unsolicited  manuscripts. 


"YOU'LL  NEVER  SUCCEED 

with  a  WRINKLED  FACE!" 


a 


The  original 

M.  ELLA  HARRIS 

can  do  this  for  you 

The  famous  beauty  specialist  now  located  in  Hollywood  will  remove  twen- 
ty vears  from  your  life. 

Patrons  from  France,  Washington,  D.  C,  and  all  points  of  the  United 
States  have  taken  advantage  of  her  luxurious  accommodations  to  regain  the 
bloom  of  youth  derived  from  her  treatments. 

MOTION  PICTURE  stars,  to  whom  the  merciless  "close-up"  of  the 
camera  shows  no  favors,  have  used  this  treatment  with  great  success. 

M.  ELLA  HARRIS 

also  manufactures  a  home  treatment  combination  consisting  of  a  tube  of 
"Marvel  Skin  Tightener,"  a  bottle  of  "Double  Astringent"  and  "Bleach  Cream. 

This  combination,  which  sells  for  only  $5.00,  contains  a  sufficient  supply 
for  four  or  five  treatments.   Directions  for  use  included  with  every  order. 

They  Whiten  and  Tighten  the  Skin 

Send  $5.00  for  this  home  treatment.    Satisfaction  guaranteed. 

I""m.  Ella  Harris, 

UiDDjc  I  1531  N.  Bronaon  Ave.,  Hollywood,  Cal. 

M.   ELLA  rlARKlo  Enclosed  please  find  $5.00,  for  which  please  send  me 

 .  ,,_  '  your  home  treatment. 

1531  NORTH  BRONSON  AVE.  | 

I^jun©  *  ».«••••••••*•••*•••**•*••••**"•*""***"*"**"****** 

HOLLYWOOD,  CAL.  PHONE  HOLLY  2170   

I   « 


HOLLVWOOO  CALIFORNIA 


mmm 


Photo  by 
Donald 
Biddle  Keyes 


Conway  dearie 

Wearing  one  of  our 
new  Imported  English 
Camel  Hair  Overcoats. 


The  above  illustrated 
garment  is  made  up  in 
a  natural  camel  color, 
with  dark  brown  over- 
plaid. 


^ETRIE'S  inc 
1  DRIVER  -  BETTINGEN 

LOS  ANGELES 


well  dressed  man 

in  HOLLYWOOD 


LAME  it  to  the 
flapper  influ- 
ence," the  "af- 
ter -  the  -  war"  let- 
down, or  what  you 
will,  the  tendency 
of  man's  dress  is 
away  from  the  som- 
ber hues  that  long 
have  prevailed,  and 
towards  the  lighter, 
brighter  colors  and 
more  pronounced 
tones;  the  "young- 
ish man's"  tenden- 
cies for  something 
livelier,  and  the 
older  man's  dispo- 
sition to  sacrifice 
stiffness  and  dig- 
nity in  dress  to 
grace  and  comfort. 

Particularly  ob- 
serve this  trend  in 
winter's  accepted 
headwear  fashions. 
The    "cady"    o  r 
derby  of  a  former 
era  now  is  as  passe 
as    the  legalized 
cocktail.  Its  blacks 
and    browns  have 
given  away  to  the 
much  more  hand- 
some fawns,  buck- 
skins,   pearls  and 
mixed  sand  -  tones 
of  the  head -fitting 
fedora,  crusher  or 
"soft    hat" — which 
correctly  may  be 
worn  in  a  half  score  different  shapes. 
The  smoothly  finished  felt  is  steadily  be- 
ing usurped  by  the  fuzzy,  rough  beaver, 
velours    and    similar  fur — with  results 
most  gratifying. 

The  nation's  pursuit  of  the  golf  ball 
has  established  many  fashions  in  wear 
that  ardently  are  welcomed  not  only  by 
the  golf  fan,  but  as  well  by  the  man 
whose  street  and  office  clothes  mark  him 
as  a  man  of  affairs.  Today  a  man  well 
along  in  years  can  stroll  down  Broadway 
in  tweed  suit,  wool  heather  hose,  sports 
or  golf  shoes  and  a  herringbone  cap  or 
tweed  soft  hat  and  attract  practically  no 
attention.  His  belted  sports  coat  with 
large  patch  or  bellows  pockets  isn't  go- 
ing to  excite  anyone. 

The  soft  shirt  to  which  we  once  but- 
toned a  soft  collar  has  developed  into  a 
one-piece  shirt  and  collar;  the  negligee 
shirt  with  its  attached  self  collar  being  in 
just  as  good  taste  and  certainly  much 
more  pleasing  to  the  wearer  than  the 
stiff  shirts  and  laundered  collar  and  cuffs 
ever  were.  Such  negligees  of  English 
Oxford  cloths,  fine  soisettes  and  madrases 
accomplish  a  rather  rakish  air,  strictly 
attune  with  the  general  ensemble  of  man's 
dress.  This  isn't  going  to  wholly  elim- 
inate the  detached  soft  collar,  which 
has  been  developed  to  an  unusual  degree 
of  practicalness  and  good  looks,  because 
there  are  many  men  who  want  the  two 
separated. 

In  suits,  winter's  dominant  shades  in- 
cline towards  effects  somewhat  darker 
than  those  that  were  favored  for  spring 
and  summer,  notably  in  soft  tintings. 
Checked  treatments  in  diagonals,  in 
heather  hues  and  brownish  tones,  with 
a  sprinkling  of  dark  blue  herringbones 
and  diamond  weaves  are  much  in  evi- 
dence. In  modeling,  the  sports  require- 
ment is  much  in  evidence,  due  somewhat 
to  the  physique  of  wearer — both  coat  and 
trousers  being  cut  with  a  freedom  that 
allows  unhindered  arin-play  and  body- 
sway.  The  accepted  sack  coats  reveal  a 
wider  spacing  between  the  buttons,  which 
may  number  two,  three  or  four.  The 
Norfolk  jacket  is  as  correct  on  the  high 
wav  as  on  the  fairway. 

Overcoats,  in  step  with  the  prevailing 
notes,  trend  towards  the  lighter  and,  shall 
we  say,  gayer  tones.  Invisible  or  semi 
hidden  plaids  and  overplaids  are  much  to 
the  fore,  the  models  following  the  Eng- 
lish in  the  loosely  fitting,  hanging  effects. 
All-round  or  half  belts  on  the  ulster  or 
great-coat  models  make  them  especially 
adaptable  to  the  motor. 

So  the  balance  has  swung  towards  ease 
and  grace  in  design;  towards  the  lighter 
motifs  in  colorings  and  pattern— both  very 
apparent  tendencies  to  copy  from  the 
fairer  sex. 


Latest  Photograph  of  Earle  E.  Llcderntan 


If  you  were  dying 
tonight 


ami  I  offered  you  something 
that  would  give  you  ten 
years  uioro  to  live,  would  you 
tak\)  It?  You'd  grab  It.  Well  fellows.  I've  got  it. 
but  don't  wait  till  you're  dying  or  it  won't  do  you 
a  bit  if  good.  It  will  then  bo  too  late.  Kiglit  now 
is  the  time.  To-morrow,  or  any  day  some  d.scasc  will 
get  you  and  if  you  have  not  equipped  yourself  to  ngnt 
it  oif.  you're  gone.  1  don't  claim  to  cure  disease.  I 
am  not  a  medical  doctor,  but  I'll  put  you  in  such 
condition  that  the  doctor  will  starve  to  death  waiting 
Tor  you  to  take  sick.  Can  you  imagine  a  mosquito 
trying  to  bito  a  brick  wall?  A  fine  chance. 
A  REBUILT  MAN 
I  like  to  get  the  weak  ones.  1  delight  m  getting 
lund  of  a  man  who  has  be.-n  turned  down  as  hopeless 
by  others.  It's  easy  enough  to  finish  a  task  that  s 
more  tuau  half  d^ie.  Kut  givo  me  the  weak,  sickly 
chap  and  watch  him  grow  stronger.  Ihats  what  » 
lJie.  It  s  fun  to  me  because  1  know  I  can  do  it  and  1 
lil.-j  to  give  the  other  fellow  the  laugh.  I  don  t  just 
glvo  you  a  veneer  of  muscle  that,  looks  good  to  others. 
1  wjrk  on  you  both  inside  and  out.  1  not  only  put 
big.  massive  arms  and  legs  on  you  but  I  build  up 
thoso  inner  muscles  that  surround  your  vital  organs 
The  kind  that  give  you  real  pep  and  energy,  the  kuui 
that  tiro  you  with  ambition  and  the  courage  to  tackle 
anything  set  before  you. 

ALL  I  ASK  IS  NINETY  DAYS 
Who  savs  it  takes  years  to  fict  iu  shape  t  feliow  me 
tho  man  who  makes  any  such  claims  and  I'll  make 
him  eat  his  words.  I'll  put  one  full  inch  on  your  arm 
in  just  30  days.  Yes.  and  two  full  inches  on  your 
die  t  in  tlic  same  lengtli  of  time.  Mcauwhilc.  1  in 
putting  life  and  pep  into  your  old  back-bone.  Anil 
from  then  on.  just  watch  'cm  grow.  At  the  end  m 
thirty  days  you  won't  know  yourself.  Your  wh  >ie 
lioily  will  take  on  an  entirely  different  appearance. 
Kut  you've  only  started.  Now  conies  the  real  work*. 
I've  only  built  my  foundation.  I  want  just  60  days 
more  .  (90  in  all)  and  you'll  make  thos;  friends  ot 
yours  that  think  they're  strong  look  like  something 
the  cat  dragged  in. 

A  REAL  MAN  „ 
When  I'm  through  with  you.  you're  a  real  man. 
Tho  kind  that  can  prove  it.  You  will  bo  able  to  do 
things  that  you  had  thought  Impossible.  And  the 
beauty  if  it  is  you  keep  on  going  Your  deep .  full 
i. icst  breathe;  in  rich  pure  air  stimulating  your  bond 
and  making  you  just  bubble  over  with  vim  and  vitality. 
Your  huge,  square  shoulders  and  your  massive  inn* 
cuiar  anus  havo  that  craving  for  the  exercise  o.  a 
regular  be  man.  You  have  the  flash  to  your  eye  and 
t.ic  pep  tJ  your  step  that  will  make  you  admired  and 
sought  after  ill  both  the  business  and  sjeial  world. 

This  is  no  Idle  prattle,  fellows.  If  you "  <M»JMJ& 
make  me  prove  It.  Go  ahead  I  Bb  it.  J.™*? 
already  done  this  for  thousands  of  others  ami  my 
raoids  are  unchallenged.  What  I  have  done  lor  Uicm. 
I  will  do  for  yiu.  Come  then,  for  time  *^ 
day  counts.  Let  this  very  day  l>e  the  liegmuuig  of  new 
life  to  you.       SEND  *OU  MY  BOOK 

"MUSCULAR  DEVELOPMENT" 

It  is  chock  full  of  largo  size  photopaphs  of  both 
myself  and  my  numerous  pupils.  Also  contains  a 
treatise  on  the  human  body  and  what  can  be  d<m<- 
with  it.  Tills  liooL-  is  iKiund  to  interest  you  and  thrill 
vou.  it  will  be  an  Impetus— an  inspiration  to  every 
red  blooded  man.  I  could  easily  collect  a  big  P»™ 
for  a  lwok  of  this  kind  just  as  others  arc  now  doWS. 
hut  I  want  every  man  anil  boy  who  Is  interested  to 
just  send  the  attached  eoup.u  and  the  book  li  I* 
absolute*  free.  AH  I  tsk  you  to  cover  is  t»e  Pr'00** 
wrapping  ami  postage -10  cents.  Remember  this  does 
not  obligate  you  in  any  way.  I  want  you  to  have  St. 
So  it's  yours  to  keep.  Now  don't  delay  one  minutc- 
this  may  be  the  turning  poult  in  your  life  today,  sso 
tear  off  the  coupon  and  mall  at  once  while  It  is  on 
vour  mbid.    _ 

EARLE  E.  UEDERMAN 

Dept.  402 .  3QS  Broadway.  New  York 

EARLE  E.  UEDERMAN 

Dept.  402.  305  Broadway.  N.  Y.  City 

Dear  Sir: — I  cneloso  herewith  10  cents  for  which 
you  are  to  send  me.  without  any  obligation  on  my 
part  whatever,  a  copy  of  your  latest  Iwok.  Muscular 
Development."     (Please  write  or  print  plainly.) 


Address 
City  


State  . 


66 


Wh 


Why  does  Gloria  Swanson  close  her  eyes  when  she  is  being  kissed? 
Why  does  Mary  Pickford  stand  on  tiptoe  and  clasp  her  hero's  neck? 
Why  does  Constance  Talmadge  shudder?  Why  does  little  Viola  Dana 
pull  her  hero's  top  waistcoat  button?  Why  does  May  McAvoy  cry? 
Whv  does  Theda  Bar  a  smile? 


NOT  one  person 
in  ten  thousand 
knows  the  facts  An- 
dre Tridon  tells  in 
his  brilliant  book. 

The  scenario  writ- 
er will  find  in  it  ma- 
terial and  informa- 
tion without  end. 

The  "movie  fan" 
will  understand  every 
action  of  the  screen 
stars,  each  little  im- 
pulsive gesture  they 
make,  as  though  it 
were  set  down  in 
type. 

The  student  of  life 
will  find  cause  to 
ponder  over  this  pan- 
orama of  jealousies, 
passions,  hates,  de- 
sires, tears  and  ten- 
dernesses which  we 
call  love. 

"If  you  have  been 
puzzled  to  know  what 
is  the  matter  with 
this  strange  humani- 
ty and  why  it  per- 
sists in  doing  the 
most   irrational,  ab- 


fycho- 
analysis 

and 

Love 


PSVCHOANA^'8 


AN 


Section 

°»  THE 

^"tST  OF 


-St 

if  CT*^y,lcal 


•The  P^geb.vtour 
Ever^L^love 


surd  and  cruel  things, 
read  Andre  Tridon," 
says  Dr.  Frank  Crane. 
Here  are  explained 
Jealousy 
Cruelty  in  love 
Successful  and  dis- 
appointed lovers 
The  sins  of  Puri- 
tanism 
The   shame  often 
concealed  beneath 
:       the  mask  of  mod- 
esty 

Is  free  love  com- 
ing to  America?  Is 
the  marriage  contract 
obsolete?  Tridon  ex- 
plains the  future  of 
love  relations. 

This  book  is  the 
book  to  have!  As 
authoritative  in  its 
field  as  the  encyclo- 
pedia. As  scientific 
as  a  medical  book. 
As  essential  as  arith- 
metic. As  entertain- 
ing as  fiction. 

Be  the  first  among 
your  friends  to  talk 
about  it. 


Psychoanalysis  and  Love 

By  ANDRE  TRIDON 


SEND  NO  MONEY 


This  is  the  most  interesting  and  most  under- 
standable information  about  love  ever  published. 
Get  it! 

SEND  MO  MONEY.  Just  fill  in  coupon  and  mail  to 
BRENTANO'S,  Booksellers  to  the  World,  Fifth  Ave- 
nue at  Twenty-seventh  Street,  New  York  City.  Your 
copx  of  this  great  book  -will  he  mailed,  to  you  immedi- 
ately. When  it  arrives,  just  pay  postman  $2.50  plus  a 
few  cents  postage. 


To  BRENTANO'S,  BookseUere  to  the  World 

Fifth  Avenue  at  27th  St^  NEW  YORK  CITY 
I  want  Andre  Tridon's  "PSYCHOANALYSIS  & 
LOVE."  Send  it  to  irac  and  I  will  pay  postman  $2.50 
pins  the  few  cents  postage.  Please  rush.  Thank  yon. 


NAME  

STREET  

TOWN  AND  STATE. 


07 


Announcing  2>Q  New 

^aranuHUtt  ^Pictures 

tobeitlcasedjTomFd).lsttoAiig.lstlQl) 

a  program  of  motion  picture 
entertainment  for  the  uMe  nation 

PARAMOUNT  can  plan  and  produce  so  far  ahead  on  this 
gigantic  scale,  because  Paramount  Pictures  have  the  pre-release 
endorsement  of  thousands  of  waiting  audiences!  — 


— an  endorsement  earned  by  stead- 
ily  making  good  to  more  than  eleven 
thousand  audiences,  steadily  deliver- 
ing the  highest  quality  in  screen  en- 
tertainment. 

The  mark  of  leadership  for  the  Star, 
the  Director,  the  Screen  Dramatist, 
the  Screen  Technicians  of  every  kind, 
is'to  have  Paramount  stamp  the 
nation's  O.  K.  on  their  art. 

Paramount  has  the  world's  great- 
est stock  company  of  dramatic  talent. 


Paramount's  unique  resources  act  as 
the  magnet  to  attract  great  stories, 
great  stars,  great  directors,  and  every 
technical  screen  betterment. 

Perfect  team  work  of  the  finest  and 
largest  motion  picture  organization  is 
the  secret  of  Paramount  leadership. 

See  the  coming  Super  39  Paramount 
Pictures  listed  on  the  opposite  page. 
Make  sure  that  you  get  your  share  of 
these  great  entertainments — planned 
for  you ! 


Cparamou/vb 


)ktures 


FAMOUS  PIAYERS  LASKY  CORP 

ADOLPH   ZUKOR.  President 
M E W  YORK   CI  TV 


68 


With  Paramount  Pictures  your  entertainment  hour* 

Make  your  dates  now! 


t! 


DATE 


DATE 


MARION  DAVIES  In 
"When  Knighthood  Was.  In  flower 

Director  by  Robert  Vignola 
A  Cosmopolitan  Production 

DOKOTIIY  I> ALTON  in 
"Dark  f4eerets  ' 

by  Edmund  Gouldins 
Directed  by  Victor  Fleming 

GLORIA  SWANSON  in 
••My  Amriiran  Wife' 

by  Monte  M.  Katterjohn.  based  on  the 
story  by  Hector  Turnbull 

CECIL  B.  DcMlLLE'S  Production 
"Adam  s  Rib" 

by  Jcanie  Maephcrson 
With  Milton  Sills.  Elliott  Dexttr  Theo- 
dore Kosloff,  Anna  Q.  Nilsson  and  Paul- 
ine Garon 


"Drains  of  Dc*tiny"  

With  MARY  MILES  MINTEK 

Supported  by  George  Fawcett 
Adapted  by  Will   M.   Richey  from 
"Sacrifice" 
by  Stephen  French  Whitman 

JACK  HOLT  in 
"Nobody's  Money" 
by  William  LeBaron 
Directed  by  Wallace  Worsley 
Scenario  by  Beulah  Marie  Dix 


A  George  Melfurd  Production 
"JAVA  HEAD" 

With  Leatrice  Joy.  Jacqueline  Losan. 
Raymond  Hatton 
by  Joseph  Hergsheim»r 
Scenario  by  Waldemar  Young 


BETTY  COMPSON  in 
"The  White  Flower" 

Story  and  direction  by  Julia  Crawforl 
Ivers 


MARION  DAVIES  in 
"Adam  and  Eva" 

Directed  by  Robert  Vignola 
From  the  play  by  Guy  Bolton  anil 
George  Middleton 
Scenario  by  Luther  Reel 
A  Cosmopolitan  Production 


AGNES  AY  RES  in 
"Racine  Hearts" 

With  Thcodoie  Roberts  and  Richard  Dis 
By  Byron  Morgan 
Directed  bv  Paul  Powell 
Scenario  by  Will  M.  Ritchey 


A  James  Cruse  Production 
"THE  COVERED  WAGON" 

By  Emerson  Hough 
Scenario  bv  Jack  Cunningham 
Paramounfs  great  epic  drama 


"THE  Nth  COMMANDMENT' 

By  Fannie  Hurst 
Directed  by  Frank  Borzage 
Scenario  by  Frances  Marion 
A  Cosmopolitan  Production 


THOMAS  MEIGHAN  In 
"The  Ne'er-Do-Well" 

By  Rex  Beach 
Directed  by  Alfred  Green 
Scenario  by  Tom  Geraghty 


ALICE  BRADY  in 
"The  Leopardess-' 

By   Katherine  Newlin  Burt 
Directed  by  Henry  KolKer 
Scenario  by  J.  Clarkson  Miller 

POLA  NEGRI  in 

A  George  Fitzmaurice  Production 

"BELLA  DONNA" 
Supported  by  Conway  Tearlc  and 
Conrad  Nagel 
By  Robert  Hitchens 
Scenario  by  Ouida  Bergere 
Presented  by 
Hamilton  Theatrical  Corporation 


A  William  deMille  Production 
"GRUMPY" 

With  Theodore  Roberts.  May  McAvoy 
and  Conrad  Nagel 
By  Horace  Hodges  and 
T.  Wlgney  Percyval 
Screen  play  by  Clara  Bcranger 

"THE  GO-GETTER" 

By  Peter  B.  Kyne 
With  Seena  Owen.  T.  Roy  Barnes 
Directed  by  E.  H.  Griffith 
Scenario  by  John  Lynch 
A  Cosmopolitan  Production 

GLORIA  SWANSON  in 
"Prodigal  Daughters" 

Adapted  by  Monte  M.  Katterjohn 
From  the  story  by  Joseph  Hocking 
A  Sam  Wood  Production 


A  George  Melford  Production 
"YOU  CAN'T  FOOL  YOUR  WIFE 

With  Leatrice  Joy.  Nita  Naldi 
and  Lewis  Stone 
by  Hector  Turnbull 


An  Allan  Dwan  Production 
"The  Glimpses  of  the  Moon" 
With  BEBE  DANIELS 

and  Nita  Naldi 
By  Edith  Wharton 
Scenario  by  Edfrid  Bingham 

v    MARY  MILES  MINTER  in 
"The  Trail  of  the  Lonesome  Pine" 
With  Antonio  Moreno 
From  the  novel  by  John  Fox.  Jr.  and 
the  play  by  Eugene  Walter 
Directed  by  Charles  Maigne 


DOROTHY  DALTON  in 
"The  Law  of  the  Lawless" 

From  a  Pictorial  Review  Story  by 
Konrad  Bercovici 
Directed  by  Victor  Fleming 
Scenario  by  E.  Lloyd  Sheldon 


JACK  HOLT  in 
"The  Tiger's  Claw" 

Bv  Jack  Cunningham 
Directed  by  Joseph  Henabery 


WALTER  HIERS  and  JACQUELINE 
LOGAN  in 
"Mr.  Billings  Spends  His  Dime 

By  Dana  Burnett 
Directed  by  Wesley  Rugglcs 
Screen  play  by  Albert  Shelby  Le\  ino 

A  George  Fitzmaurice  Production 
"THE  RUSTLE  OF  SILK" 

With  Betty  Compson  and  Conway  Tearle 
Bv  Cosmo  Hamilton 
Scenario  by  Ouida  Bergerc 


mean  moi 


POLA  NEGRI  in 

A  George  *  itzmaurioe  production 

"Declasfce" 
Ethylc  Barrymore's  great  Empire 
Theatre  success 
By  14oe  AiKen 
Scenario  by  Ouida  Bergere 
Presented  by  Hamilton  Theatrical  Cor- 
poration 

"HOLLYWOOD" 

A  James  cruze  Production 
By  Frank  Condon 
Twenty-live  stars  in  support  _ 


"VENDETTA" 

With  Lionel  Barrymore  and  Alma  Rulicns 
By  Marie  Corelli 
Directed  by  Alan  Crosland 
Scenario  by  Frances  Marion 
A  Cosmopolitan  Production 

THOMAS  MEIGHAN  in 
"White  Heat" 

By  R.  G.  Kirk.  Directed  by  Alfred  Green 
Scenario  by  Percy  Heath 

AGNES  AYRES  in 
"Contraband" 

By  Clarence  Buddington  Kelland 
Directed  by  Paul  Powell. 
Scenario  by  Buelah  Marie  Dix 

BETTY  COMPSON  in 
"The  Woman  with  Four  Faces" 

By  Bayard  Veiller 


GLORIA  SW" ANSON  in 
"Bluebeard's  Eighth  Wile" 

A  Sam  Wood  Production 
.From  Charlton  Andrew's  adaptation  of. 
Alfred  Savoir's  play 
Scenario  by  Monte  M  Katterjohn 


\  William  deMille  Production 
"ONLV  38" 

With  Lois  Wilson,  May  McAvoy, 
George  Fawcett.    By  A.  E.  Thomas 
Screen  play  by  Clara  Beranger 

BEBE  DANIELS  and 
BERT  LYTELL  in 
"The  Exciters" 

By  Martin  Brown 


WALLACE  REID  in 
"A  Gentleman  of  Leisure" 

i  By  John  Stapleton  and  P.  G.  Wodchouse 
Directed  by  Wallace  Worsley 
Screen  play  by  Albert  Shelby  LeVino 

"CHILDREN  OF  JAZZ" 

With  Nita  Naldi,  Jacqueline  Logan 
Conrad  Nagel  and  Robert  Cain 
By  Harold  Brlghouse 


DOROTHY  DALTON  in 
"Fog  Bound" 

By  Jack  Bechdolt 
Directed  by  Victor  Fleming 
Scenario  by  E.  Lloyd  Sheldon 


ALICE  BRADY  in 
"The  Snow  Bride" 

By  Sonya  Levlen  and  Julie  Heme 
Directed  by  Henry  Kolker 


JACK  HOLT  in 
"The  Light  to  Leeward" 

By  Peter  B.  Kvne 
Directed  by  Joseph  Henabery 
Scenario  by  Jack  Cunningham 


Theatres  everywhere 


are  booking  these  pictures  with  dates  of  showing 

m  >  Let  your  Theatre  till  In  the  dates! 


Vv  o 


rip  'try 

O  O  ~~ 


If  it's  a  Paramount  Picture  L 
it's  the  best  show  in  town  ■ 


w    «■ 


l  1 1  'A  i. «  '  *»* 


•KSILVWOOD  C»UFO>«l» 


Imported 

'.  ,.r'--  • '  '  ■  •  J  r- 

Glassware 

Mrs.  Conrad  Nagel 

is  one  of  several  who 
has  selected  the  design 
shown  above  in  a  com- 
plete service,  which 
without  a  doubt  is  one 
of  the  most  attractive 


cuttings 
abroad. 


produced 


W  e  stock  fourteen 
complete  lines  of  glass 
from  the  leading  man- 
ufacturers of  Europe, 
including  etchings,  cut- 
tings and  Gold  En- 
crustations. 


Objects  of  Art.  Fine  China  and  Glassware 
Seventh  Sbeel  d  Flower 
and  Ambassador  Hotel 

Los  Angeles 

Foreign  Offices: 
London  -  Paris  -  Florence 


HOT  from  HOLLYWOOD! 


{Continued  from  Page  45) 


Is  Pola  Engaged  to 
Chaplin? 

PoLA  NEGRI  is  the  most  recent 
fiancee  attributed  to  Charlie  Chap- 
lin, Hollywood's  most  famous 
squire  of  dames.  When  questioned 
about  the  engagement  Pola  says 
"nossing"  and  Charlie  says  less, 
with  emphasis.  Every  morning  a 
telegraph  messenger  delivers  a 
night  letter  signed  C.  C.  to  Pola,  as 
she  sips  her  breakfast  chocolate, 
and  the  two  are  seen  together 
everywhere. 

Charlie's  devotion  smooths  a 
little  the  path  that  is  none  too 
smooth  for  Pola  at  the  Lasky  stu- 
dio. Upon  her  arrival  in  Holly- 
wood, Paramount  officials  heaped 
honors  upon  Pola  .  .-  .  none 
of  which  Pola  refused.  Which 
added  no  whit  to  Gloria  Swanson's 
pleasure,  heretofore  queen  of  the 
Lasky  lot. 

A  tittle  incident  at  the  Para- 
mount banquet,  given  recently  in 
honor  of  visiting  officials  from 
New  York,  added  to  the  gaiety  of 
nations  here.  The  guests  were 
seated  around  the  festive  board.  At 
the  head  of  the  table,  between 
Adolph  Zukor  and  R.  B.  Kent, 
there  was  an  empty  chair.  Be- 
tween Jesse  Lasky  and  C.  B.  De- 
Mille  there  was  another  vacant 
chair.  Suddenly  there  fell  a  hush 
a  strain  of  low  music 
.  .  .  the  curtains  parted  and  in 
swept  Pola,  gorgeously  arrayed, 
seated  herself  in  one  of  the  vacant 
chairs.  Whispers  of  admiration 
from  the  guests.  Then  .  .  . 
another  hush  ...  more  music 
.  .  .  again  the  curtains  parted 
and  in  swept  an  even  more  gor- 
geously arrayed  figure,  triumph 
fairly  oozing  from  every  inch  of 
her.  Gloria  had  made  the  final  en- 
trance! 


Mae  Murray  Gives  Rus- 
sian Dinner. 

R.  AND  MRS.  ROBERT 
LEONARD  (Mae  Murray)  enter- 
tained recently  at  a  real,  honest-to- 
goodness  Russian  dinner  with  vod- 
ka and  lots  of  atmosphere.  It  was 
given  at  their  new  home,  topping 
one  of  the  Hollywood  hills,  and  be- 
longed formerly  to  Edwin  Carew. 
Mischa  Romanoff,  whom  they  say 
is  related  to  the  ex-czar,  and  an- 
other Russian  friend  spent  the  en- 
tire   day    preparing    the  repast. 


Among  the  guests  were  Mr.  and 
Mrs.  Earl  Williams,  Jackie  Saun- 
ders, Rod  LaRoque,  Dorothy  Far- 
num,  Rupert  Hughes  and  Robert 
Frazer. 


Norma  Talmadge  Is 
Back. 

1  HE  Talmadges  have  returned 
from  their  pleasure  trip  abroad. 
Norma  brought  with  her  an  Eng- 
lish protege,  Margaret  Leahy, 
whom  she  will  introduce  in  her 
new  picture,  Within  the  Law.  Bus- 
ter and  Natalie  Keaton  .  .  . 
and,  of  course,  the  baby  *  .  . 
went  to  New  York  to  meet  the 
travelers. 


"Tobie  Tyler"  for 
Jackie. 

Can  you  imagine  a  happier  choice 
of  story  for  Jackie  Coogan  than 
Toby  Tyler,  the  favorite  story  of 
thousands  of  children  of  a  genera- 
tion back?  Part  of  the  story  en- 
tails a  three-ring  circus,  and  Jackie 
thinks  his  salary  of  $2.50  a  week 
(as  he  believes  it  to  be)  is  all  vel- 
vet. 


Viola  Dana's  Mother 
Dies. 

MRS.  MARY  FLUGRATH, 
mother  of  Viola  Dana  and  Shirley 
Mason,  died  in  Hollywood  recently. 
The  funeral  was  attended  by  scores 
of  prominent  film  folk. 


Goldwyn's  President 
Honored. 

Highly  festive  was  the  homage 
occasioned  by  the  recent  western 
visit  of  Edward  Bowes,  president 
of  the  Goldwyn  studios.  Rupert 
Hughes  gave  a  dinner  for  him  at 
the  Oub  Royale,  the  smart  new 
rendezvous  on  the  beach-ward 
boulevard.  The  long,  narrow 
table  edging  the  dance  floor  marked 
the  center  stage  for  the  fashion- 
able dancing  and  dining  audience. 
There  were  Mr.  and  Mrs.  Eric  Von 
Stroheim  and  Marshall  Neilan 
with  his  young  wife,  Blanche 
Sweet,  looking  demurely  bridey  in 
a  dove-colored  chiffon  dinner 
gown  and  a  chic  toque  of  azure 
blue,  winged  with  feathery  little 
sprays  of  black. 

A  distinguished  figure  was  Mrs. 
Abraham  Lehr,  who  is  the  wife  e> 
{Continued  on  Page  71) 


r 


MOUVWOQO  C*U»OW«* 


Hot  from  Hollywood! 

(Continued  from  Page  70) 

Goldwyn's  vice-president  and  who 
had  been  asked  by  Mr.  Hughes  to 
act  as  hostess  of  the  evening,  in 
the  absence  of  Mrs.  Hughes,  then 
en  route  from  the  Orient. 

Claire  Windsor  was  stately  in 
old  gold  velvet  made  with  the  long, 
slim  bodice  and  long,  full  skirt, 
while  falling  over  the  shoulders 
was  a  deep  bertha  of  matching 
lace.  Kathleen  Clifford  was  f rocked 
in  iridescent  sequins  made  with 
simple  lines,  sleeveless  and  with  the 
close  round  neck-line.  A  wreath 
of  brilliantly  colored  flowers  en- 
circled her  head  of  short  blond 
curls. 

Then  there  was  beautiful  Eleanor 
Boardman,  whose  name  is  a  new- 
ly discovered  one  which  Dame  Ru- 
mor links  with  Charles  Chaplin. 
Others  were  the  Hugo  Ballins, 
George  Fitzmaurice  and  his  wife, 
Ouida  Bergere  ;  the  Count  de  li- 
mur,  Mr.  and  Mrs.  Paul  De  Iryde 
and  Howard  Hughes,  brother  of 
the  host. 

Two  absent  guests  were  Pola 
Negri  and  Charlie  Chaplin.  Charlie 
had  run  away  to  San  Fran- 
cisco for  a  few  days  and  perhaps 
Pola  was  just  being  temperamen- 
tal. 


Royalty  Entertained. 

QlJITE  an  aristocratic  affair  was 
the  little  dinner  given  by  Charles 
Spencer  Chaplin  for  Lord  Louis 
and  Lady   Edwina  Mountbatten, 
who  were  over  from  England  on 
their  honeymoon  and  were  given 
the  disposal  of  the  palatial  Douglas 
Fairbanks'  home  in  Beverly  Hills 
during  their  stay,  the  Fairbanks 
extending  their  hospitality  from 
New  York,  where  they  were  visit- 
ing at  the  time.   The  Lord  Mount- 
batten  was.  before  me  war,  Prince 
Henry   of    Battenberg,    and  his 
bride  was  Miss  Edwina  Ashley, 
richest  girl  in  Great  Britain.   He  is 
a  cousin  and  boon  companion  to  the 
Prince  of  Wales,  who  was  best 
man  at  the  wedding. 

During  the  evening  Doris  Eaton, 
who  is  now  scintillating  at  the 
Coconut  Grove,  sang  a  song  about 
The  Royal  Fellow  as  she  tripped 
down  to  the  table  and  presented 
his  Lordship  with  a  flower  and  a 
message,  "Remember  me  to  your 
cousin,  the  Prince,  when  you  get 
back  to  England." 


Thomas  H. 
I  nee 

presents 


T^e  Greatest 
Society  Racing 
Drama  Gver 
Screened! 

"The  HOTTENTOT" 

With  Douglas  MacLean  and  Madge  Bellamy 

OAM  hates  horses  but  loves  Peggy.  Ami  Peggy,  she  loves  horses  So 
O  Sum  although  he  didn't  know  how,  rode  the  Hottentot,  the  wildest, 
wickedest  horse  known,  in  the  great  steeplechase,  the  biggest  society  racing 
even  of  the  vcar.  And  he  wore  Peggy's  colors.  And  such  a  race!  You  11 
hold  voiir  breath;  vonll  leap  from  your  seats  and  cheer  when— bii  we 
sin'  mm,  1  it  ,v  telling  you  the  thrill.  Watch  for  .t.  Greater  than  Withe 
SeVs  S.«  VaKe  Access,  directed  by  James  W.  Home  and  Del  An- 
drews under  the  personal  supervision  ot  Thomas  H.  luce. 

Watch  for  the  First  National  trade- 
mark 011  the  screen  at  your  theatre — 
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the  genuine  diamond  ring  cheeked  below.  1  am  to  pay 
nothing  when  it  arrives.  After  one  week  I  will  either  return 
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will  send  you  $3.75  each  month  until  $38.75  has  been  paid. 
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Name  . 


Address . 


Age   Occupation  

CeprHtU  int.  Hantd  Latham  Cm. 


PATSY  RUTH  MILLER 

MARCELS  HER 
OWN  HAIR 

Miss  Patsy  Ruth  Mil- 
ler, Goldwyn  Star,  finds 
Marcelritc  an  indispen- 
sible  aid  to  her  toilet. 
-She  says: 

MARCELRITE 

Hair  Curlers  should  br- 
on  the  dressing  table  of 

every  woman  who  takes 

pride  in  her  appear- 
ance. They  do  away  with  the  bother,  discomfort, 
ami  expense  of  a  trip  to  the  hair  dresser,  and 
their  use  is  simplicity  itself.  Any  woman  can 
haw  a  perfeei.  eoiffure  if  she  uses  these  remark- 
able •  •urlers.  1  am  very  grateful  that  you  hrougrht 
them  to  my  attention. — Patsy  Ruth  Miller. 
Marrelrile.  transforms  straight  hair  into  beauti- 
ful natural  na\es  that  will  often  last  for  a 
we.-k  or  lonser.  Mareelrite  Hair  Water  enables 
everv  irn  i  and  woman,  no  matter  how  unskilled, 
to  mar<-e!  her  osvn  hair.  The  Mureelrite  Hair 
*'»»"■"  i-oiftti  in  sets  or  six.  They  are  made  of 
the  besi  srade  imported  tortoise  shell.  Shaped 
to  tit  the  head  snuirly.  Very  sanitary  to  use,  and 
will  last  for  an  indefinite  period  Set  of  six  sent 
upon  reeeipt  of  $2.00  (C.O.D.  100.  extra).  Sariw- 
faetion  (iiiuranteetl. 

MARCELRITE  If  AIR  WAVER  CO. 
15  Park  Row         Dept.  94>  New  Vork  City 


When  Is  Nudity  Immodest? 


decisions, 
well. 


all 


(Continued  from  Page  25) 
might    have  been 


We  RECENTLY  took  a  trip 
which  included  Samoa.  Jolly  little 
place,  Pago-Pago.  The  fine,  husky 
specimens  of  masculinity  who  carry 
one's  trunks  off  the  steamer  are  ex- 
clusively garbed  in  an  hibiscus 
flower  behind  the  ear.  For  more 
formal  occasions  they  frequently 
wear  a  bright  striped  loin  cloth,  but 
masculinity  always  has  to  take 
something  off  when  it  is  going  to  do 
something  strenuous,  so  the  Sa- 
moan  sheds  his  cloth. 

So  far  so  good.  But  the  female 
of  the  species,  having  loftier  views 
of  modern  civilization,  invariably 
wears  the  Mother  Hubbard  apron 
— a  concession  to  the  higher  teach- 
ings of  the  Christian  missionary. 

Hence,  you  will  see  that,  in  Sa- 
moa, it  is  the  women  who  are  up- 
holding civilization  —  almost  like 
our  own  femininity  on  the  beaches 
up  till  some  five  years  ago,  when 
mamma  wore  'em  full  and  wide  and 
long  and  high,  while  papa  contented 
himself  with  a  mere  half  yard  of 
anything  about  the  middle,  which 
never  looked  so  very  secure  at  that. 
Since  then,  however,  the  beach  au- 
thorities, with  a  nice  regard  for  the 
equality  of  the  sexes,  have  made 
masculinity  uphold  civilization  a  bit, 
too — and  mamma's  load  has  been 
somewhat  lightened,  both  spiritu- 
ally and  materially. 

This  matter  of  sex  equality  still 
needs  a  good  deal  of  balancing  in 


the  realms  of  true  modesty.  For 
instance,  it  is  perfectly  comme  il 
faut  for  male  humans  to  appear  be- 
fore a  seething  crowd,  from  which 
women  are  not  barred,  in  the  mer- 
est hint  of  a  pair  of  "trunks."  They 
call  the  occasions  prizefights  or 
boxing-matches,  according  to  the 
prevailing  legislation.  These  gentle- 
men leave  next  to  nothing  to  ex- 
pose— yet  they  are  the  heroes  of 
their  sex.  Hairy  chests  and  backs, 
bosoms,  tummies,  legs,  arms,  are  all 
in  a  lamentably  uncivilized  state  of 
nature. 

But,  I  ask  you,  what  hope  for 
civilization — and  universal  modesty 
— could  there  be  for  the  world  if 
women  presented  themselves  in 
public  scantily  be-trunked,  with 
never  even  a  pair  of  ashtrays  as  a 
sacrifice  to  modesty,  a  veil  for  Na- 
ture's incredible  indecency?  Well, 
as  I  said  before,  nice  people  really 
cannot  argue  on  this  distressing 
subject — modesty  is  too  sacred  a 
thing — but,  don't  you  know,  civili- 
zation never  even  begins  to  totter 
for  the  remissions  of  masculine 
boxing  beauties. 

I  trust  that  I  have  made  it  quite 
clear  that  Modesty,  Art,  Truth,  Na- 
ture and  Realism  all  have  their  ap- 
pointed place  in  Civilization;  that 
any  confusion  as  to  dates,  places, 
occasions,  sex,  education  or  enter- 
tainment can  be  most  devastatingly 
serious;  that,  in>  fact,  any  devia- 
tions from  customary  modesty  must 
be  handled  with  the  same  caution 
with  which  one  strikes  a  match. 
Gasoline  and  gunpowder  may  ever 
be  at  hand.  Nudity,  after  all,  is 
largely  a  question  of  Tact. 


Secrets  of  Hollywood  Telephones 


(Continued  from  Page  27) 


exhilarating  salary,  he  buys  largely. 
He  is  lavish,  princely  in  his  ex- 
penditures. 

Tom  Mix  is  the  salesman's  de- 
light. His  clothes  and  cars  are  ne 
plus  ultra,  to  say  nothing  of  the 
sine  qua  non  of  expensiveness. 

His  new  machine,  a  powerful 
Dusenberg  "Straight  Eight,"  shows 
why  the  tradespeople  fight  for  his 
phone  number.  A  gorgeous  gray 
body,  trimmed  lavishly  with  Ger- 
man silver.  The  top  is  fastened 
down  with  woven   silver  lariats. 


The  cover  for  his  spare  tire  is  a 
breath-taking  affair  of  carved  leath- 
er, with  a  chaste  design  of  minia- 
ture figures  of  Tom  Mix  on  horse- 
back, roping  steers,  etc.,  with  the 
name  TOM  MIX  in  two-inch  capi- 
tals in  the  center. 

Today's  activities  on  the  Holly- 
wood telephone  and  address  ex- 
change show  the  following  nota- 
tions: Tom  Mix — bidding  brisk ; 
new  stars,  active;  character  stock 
players,  quiet;  Mary  and  Doug 
Fairbanks,  very  quiet— few  takers. 


7* 


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SO  THIS  IS  HOLLYWOOD! 


(Continued  from  Page  5/) 


where  Thomas  keeps  in  trim  to 
jump  off  cliffs  and  wrestle  bandits, 
by  means  of  trapezes  and  rings. 

ThE  huge  buildings  that  look  so 
much  like  the  big  barns  down  on 
the  farm  that  you  look  instinctively 
for  the  silo  and  windmill,  are  the 
stages.  Two  of  them  have  glass 
roofs ;  the  others  are  "dark"  stages. 
The  glass  roofs  are  arranged  to  at- 
tract all  the  sunlight  possible.  They 
do.  On  warm  days,  when  the  famed 
California  sunshine  functions  even 
as  the  Chamber  of  Commerce 
would  have  it,  the  martyred  actors 
on  the  set  experience  all  the  sensa- 
tions of  Saint  Lawrence  on  the 
gridiron. 

On  these  stages,  Sheba's  queen 
courted  pneumonia,  and  the  Con- 
necticut Yankee  brought  New  Eng- 
land ways  to  Arthur's  court  and 
made  him  like  it.  Here  Tony, 
the  talented  pony,  shares  close-ups 
with  his  master,  and  here  the  Count 
of  Monte  Cristo  suffered  divers 
grievous  ills.  Truly,  romance  clings 
to  these  raftered  roofs. 

In  the  furthermost  corner  of  the 
last  stage,  after  threading  our  way 


around  perilous  shin-smashing  piles 
of  lumber  and  carpenters'  tools,  we 
find  William  Russell,  the  corn  fed 
strong-man,  shooting  the  last  scenes 
of  his  picture,  Man  Size.  Between 
shots,  he  discourses  with  the  gentle- 
man with  the  weary  expression  and 
the  reversed  cap  who  handles  his 
camera  with  gloves  and  the  actors 
without,  on  the  relative  importance 
of  serials  over  program  pictures. 
Bill  is  going  back  to  the  continucd- 
next-week  dramas  as  soon  as  ever 
he  can  break  away  from  his  con- 
tract with  Vitagraph,  it  is  rumored. 
Bill  never  made  so  much  money  nor 
so  many  friends  as  when  he  weekly 
rescued  the  heroine  from  the  jaws 
of  death  and  leaped  from  crag  to 
crag  after  fiends  in  human  form 
who  had  stolen  "the  papers." 

But  let  us  pass  through  that  little 
white  gate  that  swings  only  one  way 
— out — and  cross  Western  avenue 
to  the  comedy  lot.  Here  Al  St. 
John  flirts  with  custard  pies  and 
Chester  Conklin  gaily  falls  from 
dizzy  heights  into  specially  pre- 
pared plaster  baths.  Here,  too, 
Clyde  Cook  cavorts,  to  his  own 
amusement  if  to  no  one's  else. 


Mysterious  Ways  0/  the  Beauty  Glutton 

(Continued  from  Page  48) 


into  this  establishment  and  made 
a  bill  of  ninety  dollars.  She  had 
everything  done  to  her  pretty  per- 
son that  she  could  think  of,  and 
in  a  fit  of  generosity  made  her 
sister  a  present  of  a  permanent 
wave! 

Occasionally  a  man  comes  in 
for  a  permanent  wave,  and  then 
there  is  great  joy  in  woman's  land. 
The  other  day  a  male  player  in 
the  cast  of  The  Humming  Bird- 
still  humming  merrily  in  a  Los 
Angeles  theater  with  the  inimi- 
table Maude  Fulton  as  the  myste- 
rious bird — came  in  for  a  per- 
manent wave.  Only  ten  tubes 
were  needed  for  his  manly  locks. 
Professional  reasons,  purely,  how- 
ever. 

In  this  particular  beauty  parlor 
it  is  information  which  has  ceased 
to  agitate  that  Claire  Windsor  has 
peroxided  blonde  hair  and  that  she 
wears  a  lovely  golden-  wig  in  pic- 
tures; that  Betty  Compson's 
crowning  glory  started  out  as  a 
nice  mouse-colored  brown  mop  of 
just  hair;  was  treated  to  a  dose 
of  henna  and  created  a  sensation 
on  the  Christie  lot  when  it  sprung 


a  halo  on  the  camera;  and  that 
now  she  has  to  make  up  her  mind 
each  morning  which  of  her  three 
beautiful  yellow  wigs  she  will 
wear  and  which  she  will  send  to 
the  laundry  or  dry-cleaners;  that 
Mary  Pickford  does  not  wear  a 
wig  at  all,  at  all,  but  that  she  does 
curl  her  hair  artificially;  that 
Noma's  and  Constance's  locks 
are  bobbed  and  have  to  be  sup- 
plemented generously  by  "store- 
bought"  hair;  that  Marguerite  dc 
la  Motte  has  the  prettiest  com- 
plexion and  the  most  disdainful 
lips;  that  Constance  Talmadgc 
really  hasn't  an  atom  of  style; 
that  Norma's  street  clothes  are 
often  home-made  by  Mama  Tal- 
madge ;  that  Stuart  Holmes  wears 
a  toupee  of  passionate  red  curls  to 
synchronize  with  the  fringe  which 
has  survived  the  encroachings  of 
an  egg-like  dome;  that  Lottie 
Pickford  has  had  nine  permanent 
waves;  that — but  enough,  enough; 
leave  us  one  little  illusion,  oh 
Scheherazade  of  the  beauty  par- 
lors !  Let  us  still  believe  that  Bill 
Hart  is  an  Apollo  and  that  Ben 
Turpin  just  does  his  eyes  that 
way  on  purpose. 


The  Movies  Get  the  Ax 

{Continued  from  page  41) 

The  Fatal  Marriage,  with  Wallace 
Reid  and  Lillian  Gish.  Perhaps  yon 
even  stood  in  line  to  see  such  a  pair 
of  stars  co-star,  only  to  find  ont  that 
the  picture  was  only  another  mon- 
key-gland movie — Enoch  Arden  of 
a  decade  ago  re-issued  under  a  new 
title  as  a  new  picture. 

A  whole  new  deluge  of  Griffith 
pictures  of  the  cinema  feudal  peri- 
od is  about  to  descend  upon  us.  In- 
dependent Pictures  Corporation  is 
billing  the  first  six  of  twelve  old 
films.  The  probable  age  of  the 
pictures  can  be  calculated  by  the 
film-wise  by  noting  the  combina- 
tions of  stars;  Blanche  Sweet  and 
Mae  Marsh ;  Harry  Carey  and  Jack 
Pickford;  Lillian  Gish  and  Harry 
Carey.  You  will  note  also  mat  the 
information  that  these  "box  office 
winners"  are  re-edited  and  re-sub- 
titled is  in  very  modest  type  indeed. 

A  picture-wise  public  will  not 
stand  much  longer  for  these  re- 
hashed films  masquerading  as  new 
productions.  If  an  old  picture  has 
story  possibilities  that  warrant  re- 
viving— revive  it,  hut  for  the  sake 
of  the  good  name  of  the  industry, 
do  it  over  right.  Follow  the  exam- 
ple of  Mary  Pickford,  who  has 
made  her  second  production  of 
Tess  of  the  Storm  Country  a 
masterpiece. 


When  you  find  a 

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In  your  magazine  it 
is  a  sign  that  your  sub- 
scription has  expired. 

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KHBMHBNBNKIMBK 


lljuns  photo. 


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Why  Smiles  Make  You 
Happy 

(Continued  from  Page  49) 

the  memory  of  his  excellent  pro- 
file has  died  away. 

Betty  compson'S  wistful 

little  crooked  smile  is  one  of  her 
greatest  charms.  Sweet  but  sub- 
tle, it  refreshes  and  allures. 

Did  you  ever  note  the  effect  of 
Mary  Pickford's  gentle  smile  upon 
an  audience?  Watch,  next  time, 
how  it  smoothes  out  the  lines  in 
tired  brows,  how  it  seems  to  take 
the  soreness  from  hurt  faces. 

PrISCILLA  DEAN  wears  the 
smile  of  conquest,  assurance  born 
of  a  magnificent  woman's  charms, 
strong  and  fearless. 

JlJST  as  your  eyes  are  the  mir- 
rors of  your  soul,  so  does  your 
smile  betray  your  innermost  self. 

You  can  learn  to  smile.  Smiles 
are  not  innate.  Most  of  us  were 
born  howling,  anyway. 

So,  in  the  words  of  the  poet, 
"Smile,  darn  you,  smile,  even  if 
you  have  got  a  tooth  out." 


Are  Movie  Actors  Going 
Blind? 

(Continued  from  Page  61) 

the  fair  star  only  intensify  their 
scarlet  lids !  The  clear  white  of  the 
eyeball  is  bloodshot  as  if  a  thou- 
sand tiny  needles  were  pricking  the 
tender  surface.  The  sensation  is 
similar  to  that  experienced  if  a 
handful  of  fine  sand  is  thrown  into 
the  eye.  Terrific  itching  is  experi- 
enced and  the  eyes  are  almost  un- 
bearably tender — looking  as  if  they 
had  been  crying  for  a  week. 

The  remedies  mentioned  give 
temporary  relief,  but  the  malady 
must  run  its  course,  usually  ranging 
from  two  or  three  hours  to  two 
days,  except  in  rare  instances.  The 
eyes  must  be  completely  rested  and 
protected  from  the  light.  Serious 
results  are  likely  to  follow  neglect 
of  this  warning  and  a  month's  in- 
action in  a  dark  room  will  be  nec- 
essary if  the  patient  goes  back  on 
the  set  before  his  eyes  are  again  in 
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C)nE  of  the  interesting  phases  of 
Klieg  eye  is  that  it  does  not  make 
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begin  to  burn  and  hot  tears  to  well 
up,  and  the  patient  realizes  that  he 
is  in  for  a  bad  night  and  all  thought 
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Hi  was  in  effect  a  «hut-in,  for  I  was  al-  Finding  a  Way  to  make  a  pleasant  home.    She  has  the  duty 

I    lowing  my  children,  my  husband,  my  ....           u  j  fi  d            ?    1  was  de_  to  her  husband,  her  children   her  friends, 

*    home  to  absorb  all  my  time,  and  *{£A  \™  d0  ; hn*n|  2 -dJ  I  talked  to  be  more  than  a  cook  and  a  housekeeper. 

rarely  could  I  be  any  more  interesting  to  {^  Editor  of  o\u  local  newspaper     He  Whether  or  not  she  needs  the  extra  money 

my  family  or  my  friends  than  is  the  daily  £  f                 iT«SS  sug-  ?he  mlSht  carn'  sh^.m«st         to  ™ke  Jlfe 

„  i;„t  nr  tiL  wepklv  washine    I  was  micrcsiea  in  my  prouiein  anu  sng  ,nteresting  and  varying  to  those  with  whom 

grocery  list  or  tne  weeKiy  wasmng    i  w,a>  j^tcd  that  I  learn  how  to  observe  and  *  •„ 

out  of  touch  with  everything  I  read,  with  write  &            observations;  to  make  becomes  ,1  contact.  . 

every  speaker  whom  I  heard.    In  my  rare  them  mto  r<7fl/  stQJries  Don  t  sit  idly  by,  day-drcammg,  inert, 

hours  of  leisure  I  onlv  set  and  dreamed—  „,_  ^  .             T          ,,  „  f     ,    .  Open  up  the  real  vistas  of  life,  get  out  ot 

to  no  purpose.            "  But  how  can  1  learn?      1  abked  h  the  rut.    Let  Dr.  Esenwein  help  you.  Get 

"I  was  easily  able  to  take  care  of  all  the  c  ".'Get  in  touch  with  Dr  Esenwein  at  Dr.  Esenwein's  personal  instruction  in 
household  duties;  our  income  was  enough  Springfield,  Mass..  he  urged.  He  is  the  magazine  writing,  photoplay  writing  jour- 
to  give  us  the  major  comforts  of  modern  most  practical,  the  most  inspirational  of  all  nahsm  verse  writing.  You  can  develop 
life  Ye'  with  it  all  I  felt  dull  fatigued  ,hc  teachers  who  have  tried  to  instruct  pco-  the  talent  you  possess  along  any  literary 
and  restless.  I  knew  that  I  was  not  the  P'c  \n  thc.  art  of  the  story,  m  the  science  Hne.  And  through  Dr.  Esenwein Vmanu- 
brilliant,  active  girl  with  whom  my  hus-  of  observing  the  interesting  things  of  life.  script  criticism  service,  you 
band  had  originally  fallen  in  love.  I  had  "I  wrote  to  Dr.  Esenwein  and  he  an-  can  have  the  help  of  a  fa- 
gone  back  because  I  had  not  used  mv  mind  swered  my  letter.  And  now  Dr.  Esenwein  mous  editor  and  critic  111 
—because  my  day  dreams  were  but  idle  has  taught  me  not  only  how  to  observe  making  your  stories  accept- 
fancics— because  I  did  not  understand  or  people,  how  to  interpret  what  is  going  on  in  able  to  other  editors, 
appreciate  the  life  which  was  glowing  about  the  life  about  me,  but  has  actually  taught  Don't  delay  another  mm- 
me.  I  was  suffering  from  mental  starva-  me  to  write  stories  for  magazines.  ute.  Sit  down  at  once  and 
Hon.  .    "Soon  after  I  started  to  study  with  him  writc  for  the  catalog  sent 

"Then,  one  day,  a  famous  woman  ad-  I  began  to  sec  in  the  life  around  me  count-  free   containing  a  full  dc- 

drcsscd  our  woman's  club.    She  was  an  less  things  that  once  seemed  trivial  and  scnption  of  the  Short-Story 

author,  and  one  of  the  most  interesting  work-a-day,  but  which  I  now  recognize  as  course,    ricase  aOdress .       Or.  K.seiHvem 

persons  I  had  ever  met.    Frankly,  I  was  valuable  story  material.    And,  think  of  it  THE  home  CORRESPONDENCE  SCHOOL 

humiliated  by  my  inability  to  talk  to  her.  -last  year  I  earned  over  $2,000!  Springfield  Mass. 

She  probably  didn't  notice  my  confusion,  "And  Oh!,  what  it  has  meant  to  me  to  Established  1897                  Incorporated  1904 

but  I  frit  it,  and  truly,  it  hurt!    When  become — for  they  say  that  I  have  become  _  _  _  __        _  ___ 

1  sincerely  analyzed  myself  I  felt  sure  that  — an   interesting   person,  someone    worth         „  „  ,-.■„„  c 

11              1         •         *       .                                    \             •  (*    y  j  ..                                       «t*                   1      »  *      HOME   V-ORRESPONDENCE  *>ClIOOL, 

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Dear  Mary: 

Well,  here  I  am  in  Hollywood,  as  you 
can  see  by  the  address.  I  can  hardly 
realize  I  am  in  the  most  famous  city  in 
the  world  I  thought  I  was  doing  some- 
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round-trip  ticket  to  California,  but  it  seems 
to  me,  Mary,  that  everyone  in  the  world 
had  the  same  bright  idea.  For  tourists  arc 
so  thick  here  that  yon  can't  see  the  real 
Cafi  forn tans.  And  yon  know,  Mary,  that 
the  people  I  came  oat  here  to  see  are  the 
stars. 

My,  how  I  did  look  for  motion-picture 
celebrities  when  I  first  came  out  here!  I 
thought  I'd  see  Wallic  Reid.  Gloria  Swan- 
son  and  Mary  Pickford  the  first  day  or  the 
second  at  the  least,  and  that  the  lesser 
lights  would  be  so  thick  on  the  streets 
that  I  would  have  to  elbow  them  out  of 
my  way. 

But  it's  not  that  way  'at  all,  Mary.  I 
was  here  a  week  before  I  saw  even  an 
extra,  and  1  don't  suppose  I  would  ever 
have  seen  a  real  star  if  I  had  not  been 
lucky  enough  to  get  an  invitation  from 
Cousin  Frank  to  go  to  lunch  with  him.  He 
knew  what  I  wanted,  and  he  took  me  to 
that  attaint,  blue-fronted  cafe  in  the  heart 
of  Hollywood  —  the  Armstrong  Cark'ton. 
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from  staring  so  hard,  for  Frank  knows  a 
lot  of  the  stars  bv  sight  and  could  point 
them  out  to  me.  The  place  was  full,  and 
about  two-thirds  of  the  guests  were  picture 
people.  Why,  Mary,  we  had  to  stand  for 
a  few  minutes  before  we  got  a  table,  and 
who  do  you  suppose  stood  at  mv  elbow 
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to  keep  mc  from  peppering  him  with  ques- 
tions and  compliments,  but  to  tell  yon  the 
truth.  I  would  not  have  recognized  him  if 
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Gloria  Swanson  in  make-up  had  run  in 
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I  must  dash  away  to  dinner  there  now. 
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I  wouldn't  miss  looking  on  for  the  world. 

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Elena. 


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The  INFANT  Industry 
Learns  to  TALK 

(Continued  from  Page  62) 

Fairbanks  could  not  "see"  the  talk- 
ing movie.  "I  do  not  want  people 
to  see  me  as  I  am,"  he  asserted. 
"I  want  them  to  see  me  as  I  por- 
tray the  character  .  .  .  the 
quality  beyond  reality  is  far  more 
intriguing.  Why  shatter  the  illu- 
sion with  'canned'  words?  Would 
you  put  lip  rouge  on  the  Venus  de 
Milo?" 

Thomas  h.  ince,  producer, 

was  "willing  to  be  shown." 

"But  would  it  not  be  grotesque 
a  number  of  people  speaking  on  the 
screen,  and  the  voice  always  com- 
ing from  the  same  spot?  Opera, 
however,  might  be  popularized  by 
the  talking  motion  picture.  Our 
attitude  toward  the  reproduction  of 
the  singing  voice  is  not  so  critical." 

Agnes  Ayres,  Paramount  star,  is 
an  enthusiastic  advocate .  of  com- 
bining the  voice  with  motion-pic- 
ture interpretaion.  "Talking  films 
would  infinitely  broaden  the  scope 
of  dramatic  interpretation.  Our 
development  is  all  a  matter  of 
training,  and  lessons  in  voice  cul- 
ture would  not  be  so  great  an  added 
task." 

Marshall  Neilan,  producer  and 
director,  is  as  certain  that  talking 
movies  will  one  day  supplant  the 
silent  drama  as  the  fact  that  the 
phonograph  has  supplanted  the 
music-box.  On  the  other  hand, 
Frederick  Palmer,  head  of  a  school 
of  screen  writing,  believes  the  most 
subtle  beauty  of  the  motion  picture 
is  summed  iip  in  the  one  word 
.    .    .  silence. 

J.  HARTLEY  MANNERS  and 
Laurette  Taylor  insist  that  half  the 
enjoyment  of  the  picture  they  are 
making,  Peg  o'  My  Heart,  will  be 
lost  in  the  absence  of  the  delightful 
Irish  brogue. 

Guy  Bates  Post  and  Theodore 
Roberts,  who  have  both  won  fame 
on  the  legitimate  stage  before  en- 
tering pictures,  doubt  the  possibility 
of  successfully  mixing  the  two  arts. 


T 


ALKING  movies  didn't  make 
much  of  a  hit  with  June  Mathis, 
probably  the  most  famous  scenarist 
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COUPON 
Circulation  Manager  "Screenland," 
Hollywood,  Calif. 

Please  send  me  FREE  Elinor  Glyn's  "Be- 
yond the  Rocks"  with  a  year's  subscription 
to  SCREENLAND,  for  which  I  enclose 
$2.50. 

Name   


Address 


WORK 

AT HOME 


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ing Parchment  Shades  without  leaving 
the  privacy  of  your  own  home.  Easy  to  I 
learn — we  teach  you  to  do  our  work 
and  positively  guarantee  to  supply  you 
with  interesting  spare  time  employment. 
Wrrite  immediately  for  information  to 
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MUSIC  LESSONS  FREE 


'on  can  read  music  like  this  quickly 
IN  YOUR  HOME.  Write  today  for  our  FREE 
booklet.  It  tells  how  to  learn  to  play  Piano, Organ, 
Violin,  Mandolin,  Guitar,  Banjo,  etc.  Beginners  or 
advanced  players.  Your  only  expense  about  2c  per 
day  for  music  and  postage  used.  AMERICAN 
SCHOOL  of  MUSIC.  68  Lakeside  Bide.,  Chicago. 


RE-MANUFACTURED  

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AT  REDUCED  PRICES 

Prices  as  low  as  

Write  for  our  Catalog  No.  J 
RERAN  TYPEWRITER  CO. 
.  ji  am  w.  »nimm  «t,  - 


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COMMISSION. 

Submit  manuscripts  (accompanied  by  stamped 
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(Authors'  Representatives — NOT  A  SCHOOL) 


WE  MAKE  NO  PROMISES 
Excepting 

We  will  read  your  scenario  or  plot  and  give 
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charges  are  one  dollar  for  two  reels  or  less 
and  two  dollars  for  a  five-reel  scenario. 

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Ko) 


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a  word 


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close 
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ART 


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f  Cleveland,  Ohio. 


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France. 


COLLECTIONS 


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CRYSTAL  GAZING 


PLAYS,  musical  comedies  and  revues,  min- 
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make-up  goods.  Big  catalog  free.  T.  S. 
Donison  &  Co.,  623  S.  Wabash,  Dept.  82, 
Chicago. 


MAIL  ORDER  METHODS 


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BUSINESS  Men:  Ask  for  prices  on  Desks 
and  Office  Supplies.  Mc Failing,  Terre  Haute, 
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OLD  COINS 


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coins  for  sale  free.'  Catalogue  Quoting  prices 
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PATENTS 


PATENTS — Send  for  free  book.  Contains 
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PHOTOPLAYS,  Scenarios  in  demand  for 
producers.  Send  manuscripts  immediately. 
(Sold  on  commission.)  Beginners  write  for 
instructions.  Hollywood  Co.,  Station  C  1333. 
Los  Angeles. 


SHORT  stories  and  photoplays  criticized. 
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Special  attention  to  beginners.  Particulars 
on  request.  Earle  I.  Strickland.  609  Locw's 
Warfield  Bldg.,  San  Francisco,  Cal. 


SONG  WRITERS 


SONG  WRITERS— If  you  have  song  poems 
or  melodies  write  me  immediately.  I  have 
absolutely  the  best  proposition  to  offer  you. 
Ray  Hibbeler,  D167,  4040  Dickens  Ave., 
Chicago. 


WRITE  the  Words  for  a  Song.  We  compose 
music.  Our  Chief  of  Staff  wrote  many  big 
Song-Hits.  Submit  your  song-poem  to  us  at 
once.  New  York  Melody  Corp.,  438  Fitz- 
gerald Bldg.,  New  York. 


WRITE  A  SONG:  Any  subject,  you  can 
do  it.  Send  words  today — I  will  compose  the 
music.  Frank  Radner,  C048  Prairie  Ave., 
Dept  648,  Chicago. 


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MAKE  $19  per  100,  stamping  names  on  key 
checks.  Send  25c  for  sample  and  instruc- 
tions.   X  Keytag  Co.,  Cohoes,  N.  Y. 


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WATCHES  are  our  exclusive  spacialty. 
Illustrated  factory  price  list  mailed  free.  We 
also  do  special  repair  work.  Send  us  your 
old  watch  for  an  estimate.  UNEEDA 
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York. 


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ply insistent  demand.  We  get  your  photo- 
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for  Free  Plot  Chart  and  Details.  Harvard 
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thors' Press,  Dept.  156,  Auburn,  N.  Y. 


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health.  Circular  free.  National  Specialties, 
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anteed. 50  cents.  J.  Gaub,  Pittsburg,  Aspin- 
wall.  Pa. 


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buttons.  Find  them  in  the  dark.  Formula 
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R.  I. 


8l 


WARNER  BROS 


Seven  Great  Pictures  from 
Seven  Great  Books 

Millions  have  read  them — 

Millions  will  want  to  see  them 
on  the  screen. 

WARNER  BROTHERS 

Producers  and  distributors  of 
clean,  interesting  motion  pictures, 
have  spared  no  expense  in  select- 
ing the  best  known  screen  players 
anil  directors  to  interpret  the  work 
of  the  best  writers  for  the  enter- 
tainment of  the  American  public 


Brass" 

'Main  Street" 

'Rags  to  Riches" 

'Beautiful  and  Damned" 

'Little  Church  Around  Ike  Corner" 

'A  Dangerous  Adventure** 

'Little  Heroes  of  the  Street" 


82 


Of  these  two  Don  Juans  will  be  the  successor  to 

RODOLPH  VALENTINO? 

This  is  the  question  that  has  been  eating  at  the  vitals  of  Hollywood  society  for  weeks. 

To  the  little  boy  or  girl  who  can  correctly  answer  this  question  will  be  awarded  the 
privilege  of  standing  in  line  on  Thursday  morning,  February  first,  and  trying  to  buy  a 
copy  of  the 

BIG  BURLESQUE  NUMBER 

OF 

SCREENLAND  for  MARCH! 

BEFORE  IT  IS  SOLD  OUT 

What  You  Have  Been  Wanting  to  Know:  When  Will  Hays  called  the  maker  of 
Girlish  Wives  a  big  hunk  of  Camembert,  was  he  insulting  him  or  the  cheese?  Why  are 
"mother"  pictures?    Penrhyn  Stanlaws'  Own  Beauty  Contest— 100  pages  ol  solid  mirth! 

WARNING :  We  assume  no  responsibility 
for  those  poor  disappointed  fish  who  straggle 
in  late  and  are  unable  to  secure  a  copy.  We 
will  merely  place  75,000  of  them  on  the  news- 
stands February  first,  and  let  Nature  take 
its  course.  Better  ask  your  dealer  to  reserve  a 
copy. 


To  insure  a  merry  New  Year  clip  $2.50  to  tMs  coupon 
(or  $1.00  for  five  months)  and  mail  to  SCREENLAND 
MAGAZINE,  HOLLYWOOD,  CALIF. 

Name  

Address  :  


We  will  start  your  subscription  with  the  BIG  BURLESQUE 
NUMBER. 


What  Are  Your 

Facial  Habits  ? 

Raising  the  brows,  contracting  them,  is  a 
facial  habit  that  causes  wrinkles,  while 
laughing  or  squinting  draws  the  skin  about 
the  eyes  and  results  in  "crow's  feet." 

Smiling  or  holding  the  lips  tense  forms 
wrinkles  about  the  mouth.  These  lines 
develop  into  ugly  furrows. 

Chin  wrinkles  must  also  be  guarded 
against.  They  are  common  and  easily 
formed.  Wrinkles  of  the  neck,  formed 
by  the  normal  habit  of  turning  the  head, 
have  lo-ng  been  considered  indications  of 
approaching  age. 


It  is  possible  to  remove  wrinkles! 

Every  Woman  Can  Now  Prevent  the  Formation  of  Wrinkles, 
and  at  the  Same  Time  Improve  the  Texture  of  Her  Skin. 


SCIENCE  has  just  discovered  a  marvelous  new 
treatment  that  absolutely  removes  wrinkles — 
removes  them  by  removing  the  cause!  After  years 
of  failure  by  so-called  beauty  specialists,  EGO 
Wrinkle  Remover  comes  as  the  perfect  formula  that 
rids  the  skin  of  wrinkles  forever. 

Do  You  Know  What  Wrinkles  Are? 

When  you  laugh  or  cry  or  express  any  emotion, 
your  facial  muscles  draw  the  skin  into  folds.  As 
the  underskin  becomes  dry,  these  lines  become  fixed, 
just  as  an  iron  presses  the  folds  into  cloth. 

A  New  Method  that  Removes  the  Cause 

This  scientific  discovery  performs  three  simple  steps 
necessary  to  preventing  or  removing  wrinkles: 

1 —  It  treats  the  "true  skin"  by  softening  it  and 
feeding  and  nourishing  the  tissues.  Thus  the 
"true  skin"  gains  in  life  and  elasticity. 

2 —  It  holds  the  skin  taut.  It  neither  stretches  nor 
shrinks  the  skin.  It  merely  holds  it  in  its 
natural,  wrinkle-free  position. 

3 —  During  this  tension,  the  underskin  sets  in  place 
and  when  the  process  is  finished,  what  a  mar- 
velous result — youth! 

Ego  Wrinkle  Remover 

This  marvelous  discovery  not  only  removes  wrinkles, 
but  molds  the  skin  into  a  firm,  smooth  surface.  Its 
properties  bleach  the  skin,  clear  it  of  surface  blem- 
ishes, and  leave  it  with  that  soft,  fresh,  May-morning 
feeling. 

EGO  Wrinkle  Remover  sells  for  $5.00.  Because  of 
its  costly  ingredients,  it  is  not  possible  to  sell  it  for 
less.  If  freeing  yourself  of  wrinkles  or  preventing 
their  formation  is  worth  while  at  all,  then  the  value 
of  EGO  Wrinkle  Romover  will  be  measured  by 
what  it  does. 


cm 

Q/ie  Gxclusioe 
(J^eauhj  ^Jreatments 


Wrinkle Kemover,  $5.00. 
Depilatory,    51.00  and 

$2.00. 
Bust  Beautifler,  $5.00. 
D«odorant,  $.50. 


Perspiration  Eegulator, 
$1.00. 

Skin  and  Pore  Clean- 
ser, $3.00. 

Freckle  Cream,  $5.00. 


Get  Ego  Wrinkle  Remover  At  Once 

If,  by  chance,  the  toilet  counter  of  your  favorite 
department  store  cannot  supply  you,  send  money 
order  for  $5.00,  or  cash,  by  registered  mail,  and  a 
tube  in  a  plain  wrapper,  with  full  instructions,  will 
be  sent  you.  You  take  no  risk!  Your  money  will 
be  refunded  if  you  want  it. 

Grace  M.  Anderson 
c/oVI  VAUDOU 

'paris  -jVcu)  Iforlu 

Dip  a  handkerchief  in- 
to water.    As  the  fibres 
are  softened  the 
creases  vanish  just 
as  wrinkles  disap- 
pear under  the 
softening  treat- 
ment of  Ego 
Wrinkle  Re- 
mover. 


Spread  the 
handkerchief 
against  a  window 
pane  to  dry.  What 
the  pane  of  glass  does 
to  the  handkerchief  Ego 
Wrinkle  Remover  does 
to  the  skin  by  holding 
it  taut  until  the  "true 
skin"  sets  in  place. 


DOLLAR   „ 

\put\6urself tit  Her  Place 

T\  /TOSTwomen  find  a  lot  of  fun  in  window  shopping  and  looking  ^  beautiful  styles 
VI   in  catalogs  and  magazines.  But  for  most  of  us  such  fun  usually  ends  m  heart 
Ml  aches  anf  even  bitterness,  because  it  all  seems  so  far  beyond  our  reach. 
No  matter  who  you  are  or  where  you 


All  Wool  Poiret  Twill  Dress 

I  show  directly  below  an  exquisite  little  fashion 
that  I'd  like  to  Bend  you  for  just  a  dollar  deposit,  post- 
age prepaid.  The  fabric  is  guaranteed  to  bo  all  wool 
Poiret  Twill  exceptionally  tailored.  It  is  effectively  set 
off  with  an  all  around  Bertha  collar  of  dainty  lace.  El- 
bow length  bell  sleeves  have  attractive  knife  pleated 
cuffs.  A  distinctive  all  around  narrow  self  material 
belt  falling  in  streamers  in  front,  is  ornamented  with 
fancy  cut  steel  buttons.  Side  panels,  pleated  to  match 
cuffs  drop  loosely  from  the  belt  at  sides  to  below  the 
hem  'of  skirt.  Yoke  underlining  of  good  grade  satin 
finish  cotton  that  wears  excellently.  Dress  cloBes  at 
sides  with  snap  fasteners. 

Color:  Navy  blue  only.   Sizes :  34  to  44  bust  measure. 

No.  E5C10  &8S£oS£Spon  Price$13.85 


live;  no  matter  what  your  circumstances  may 
be  or  how  little  or  how  much  you  spend  on 
clothes.  I  think  I  can  make  it  all  a  little  pleas- 
anter,  easier  and  more  satisfactory  m  the  lu- 
ture.  Whatever  dreams  of  stylish  clothes  you 
mav  have,  here  is  an  opportunity  to  make  your 
dream  come  true.  However  much  you  have  ever 
admired  some  woman  of  your  acquaintance  for 
the  clothes  she  wears,  here  is  an  opportunity  for 
you  without  trouble  or  bother  or  extra  expense 
to  put  yourself  in  her  place. 

It  seems  more  like  a  fairy  tale  than 
anything  else  you  can  imagine.  It  may  seem 
almost  too  good  to  be  true,  but  I  have  been  doing 
this  for  years.  Hundreds  of  thousands  of  women 
all  over  America  return  to  me  season  after  sea- 
son for  all  their  clothes  needs.  I  never  go  back 
on  a  promise.  I  guarantee  every  statement  I  make. 

One  Example  Among  Thousands 

On  this  page  I  show  you  a  perfectly  lovely 
little  model  in  one  of  the  season's  newest  fashions,  ex- 
quisitely tailored  in  all  wool  Poiret  Twill.  It  is  a  gem 
of  a  style.  And  as  you  examine  it  on  the  fashion  figure 
son  may  wonder  how  you  would  look  in  her  place.  1  a 
love  to  actually  put  you  in  her  place  without  promise 
or  obligation,  without  expense  or  risk  of  any  sort  to  you. 

It  would  give  me  no  end  of  pleasure  to  send 

you  this  charming  dress  to  try  on,  to  examine  and  com- 
pare just  as  much  as  you  please.  My  bargains  are  my 
pride  I  am  especially  proud  of  this  value  The  matter 
of  style  has  always  been  second  nature  to  me,  ana  1 
am  glad  to  submitthis  model  as  anexample  of  the  thou- 
sands shown  in  my  latestand most  beautifulstylebook. 

Pin  a  Dollar 

to  the  Coupon 

For  just  one  dollar  with 

your  request,  I'll  send  you  this 
dress,  postage  prepaid,  in  your 
proper  size,    to  examine  as 
'  carefully  as  you  please,  to  try 
on  to  your  heart's  content, 
s  The  dollar  that  you  send  me 
■  brings  the  dress  delivered 
to  your  home  without  one 
further  penny's  outlay, 
.  without  the  bother  of  any 
C.  O.  D.,  without  even  a 
thought  of  money  until 
jBlSiyou  decide  you  want  it 
and  to  keep  it. 


Take  All  Spring 
And  Summer  to  Pay 

If  you  find  you  would  rather  return  it,  do  so 
without  question.  I'll  refund  your  dollar .at  once  I Ml 
also  pay  the  return  express.  Money  is  the  last  thing 
you  really  need  to  worry  about,  because  if  you  are  de- 
lighted, you  can  pay  balance  of  my  bargain  price  almost 
ai  you  please.  I  want  you  to.spread  the  cost  over  all 
this  Spring  and  Summer,  taking  a  full  six  months, 
paying  little  by  little  in  Bmall  sums,  evenly  divided, 
coming  a  month  apart. 

My  whole  business  is  conducted  in  exactly  the 
same  manner  as  this  one  example. 

A  Post  Card  Brings 
My  Free  Style  Book 

This  advertisement  is  intended  simply  as  an 
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Send  your  letter  to  Advertising  Manager,  Screenland  Magazine,  Hollywood.  Calif. 


The  name  that  earned  fame  through 
thousands  of  hours  of  wonderful  entertainment 


'TT'HE  name  that  means  better  pictures  to 
the  people  who  see  pictures  for  enter- 
tainment and  the  people  who  exhibit  pic- 
tures for  a  living. 

Not  founded  on  just  a  few  successes  but 
on  more  than  a  thousand,  over  years. 

Successes  such  as  the  great  pictures  of 
Paramount's  famous  41  released  during  the 
past  six  months — "Manslaughter,"  "Blood 
and  Sand,"  "TheOld  Homestead,"  "To  Have 
and  To  Hold,"  "Back  Home  and  Broke," 
"Clarence,"  "The  World's  Applause." 

Today  no  good  theatre  will  make  up  its 


program  until  it  knows  what  Paramount 
has  in  store.  And  what  Paramount  has  in 
store  for  1923  outshines  anything  in  the  past! 

Back  of  the  name  and  the  fame  are  an  in- 
tense ideal  and  much  the  largest  organiza- 
tion in  the  industry.  An  ideal  expressed  by 
high  standards  of  production  in  every  Para- 
mount Picture — an  organization  unique  in 
power,  finance  and  personnel, 

— and  yet,  you  may  miss  the  benefits  un- 
less you  choose  your  pictures  by  the  brand 
nam  e  Paramount !  An  unromantic  thing,  per- 
haps, but  what  thrilling  results  it  ensures! 


FAMOUS  PLAYERS  LASKY  CORPORATION 

AOOLPH  ZUKOR    President  1*6 

-nlw  YOnK  arv  W 


(Paramount  (Pictures 

If  it's  a  Paramount  Picture  it's  the  best  show  in  town  / 


$10  for  the  best  answer  to  "Which  Advertisement  in  This  Issue  of  Screenland  Appeals  to  You  Most— and  Why?" 


^ext^Month 

since  the  trial  and  his  chances  to  "Come  Back" 


Can  Arbuckle  Come  Back? 

This  is  the  first  Authentic  Article  on  the  Arbuckle 
Trial,  on  his  vindication,  his  life  and  experiences 
to  the  Screen.   


MARCH    192  3 


No.  6 


Vol.  VI 

Myron  Zobel.  Editor. 


SCREENLAND      Eunice  Marshal[>  Mgr,  Editor 


THE  CONTENTS 


Kopec 


15 


1! 


Rodolph  Valentino,  "Our  Hero'  (Coyer  De- 
s;gn)        ...       -       -       Mon  Randall 

GALLERY  PORTRAITS 
The  Bubble  (Art  Study) 
Claire  Windsor  Mabel  Normand 

Ramon  Navarro  Conrad  Nagel 

Enid  Bennett  Madge  Bellamy 

Baby  Peggy 

BURLESQUE  SECTION 
F asters  in  Babylon     -      -      -  ; 

A  Story  of  the  Gay,  Reckless,  Wreckish, 
Rakish  Hollywood  Set. 

Violets  and  Valentino  - 

An  Interview  with  Rodolph 

Broken  Panes 

Our  30,000-Rublc  Prize  Scenario. 

The  Pose  that  Won    -       -    Everett  Wynn 
Where  Beauty  Reigns    -       -  ■  •  -       ~  ^ 
Along  Motor  Row       -      -      -  - 
What  the  Young  Woman  Motorist  Will  ^ 

Wear    -  16 

Along  Hollywood's  Rialto  -  -  -  -  *° 
Daily  Snooze  - 

Principles  of  Pantomime     -  y 

Screenland  Sympathizers       -       -  -  11 

Penrhyn  Stanlaws'  Own  Beauty  Pages  Ll-Li 

A  Searching  Analysis  of  the  Charms  of  Male 
Stars.  ^  r 

Questions  and  Answers  -  -  ^ 
With  the  Press  Agents       -       -       -  .  JU 

ARTICLES  YOU  WILL  WANT  TO  READ 
Wally  Reid  Conquered  the  Morphine 
Habit       -       -       Eunice  Marshall  OU-OJ 

^Monkeys  or  Babies?    -  Myrtle 

Gebhart     -       -       -       -  40"43 
Are  Screen  Stars  Lavishing  Affection  on 
Pets  or  Boudoir  Children? 


35-39 


48-51 


Politics  in  the  Movies 

The  Answer  to  the  Question,    What  s  the 
matter  with  the  Movies?" 

Bumping  the  Bumps  to  Stardom 

_       _  Anne  Austin 

How  Some  Stars  Fought  Their  Way  to 
Fame  . 
Is  Hollywood  Going  CouE-CucKOor 

-    Alma  W Intakes  52-bb 
Day  by  Day,  in  Every  Way,  Hollywood  is 
Getting  Better  and  Better  _ 

The  Hollywood  Divorce  Ring    -       -  ico/ 

Desertion  Covers  a  Multitude  of  Sins 

Is    Valentino    the    Greatest    Lover  In 
History  -       -       -       Trismegistus ,  Jr.  71-75 

What  the  Stars  Predict  for  Valentino  and 
Gloria  Swanson  _ 

Romance  in  the  Movies  -  •  "  ,A  }n 
The  Movie  Kindergarten     Dorothy  Dare  64-6/ 

How  the  Screen  Children  Get  That  Way 

And    the    Flapper    Keeps    On  Flapping 

.     ,  _  W.  Ellen  Reamy  68-70 

Styles  Come  and  Go,  but  the  '  Flapper 
Remains 

The  Problem  of  the  Unlovely  Woman 

-    Grace  Kingsley  44-47 

Adam's  Rib    -       -       "   ,  "       "  "  80 

DEPARTMENTS 

Caught  in  the  Act  -      "      "      "  76~79 

Off  Stage  Photographs  of  Your  Favorite 
Stars.  R1 

Hot  From  Hollywood  -       -    .  -       -  ei-°- 

Pertinent    Paragraphs    Straight  From 
Filmdom.  „{ 

The  Picture  of  the  Month  -      -      -      -  8- 

Suzanna— United  Artists'  Production 

Little  Hints  For  Playgoers  -       -       -  «6-« 

Reviews  of  the  New  Films 

Editor's  Page    -       -       '  T    '  ,  n'  ■  , 
High  Life  In  Hollywood     Isabel  Pemval  ^ 

The  Play  Hour  of  the  Players 


m 


V, 


l1^ 


A- 


Published  Monthly  by  the  SCREENLAND  PUBLISHING  <^^jg*^^ 
1923,  by  Screenland  Publishing  Co*,  Trade-Mark  registered^    S        c°pes      ce ;n  as  th£Pnew  ^nd  allow  five  weeks  for  the  first 
32.50  a  year;  Foreign  S3.50.    When  changing  an  address,  give  the  old  a  d  «     s  we  ^  under  the  act  of  March 

copy  to  reach  you.  Entered  as  second-class-  matter,  August  27 ,  9 ■  0 ,  at  th ^  &{  ^  post_office 
^c^^  Feature  Syndicate,  HoUywood.  California. 


\ 


57 


radiant  bride  at  twenty- 
at  twenty-five—  what? 


Is  the  Husband  or  Wife  to  Blame? 

Is  the  husband  or  wife  to  blame 
for  the  tragedy  of  too  many  children  ? 

Margaret  Sanger,  the  great  birth 
control  advocate,  comes  with  a  mes- 
sage vital  to  every  married  man  and 
woman. 


HOUSANDS  upon  thousands  of  women  to- 
day marry  with  the  bloom  of  youth  upon 
their  cheeks.  A  few  years  of  married  life 
rub  the  bloom  off.  Children  come,  too 
many  And  instead  of  the  energetic, 
healthy  girl  we  have  a  tired  and  bedraggled 
young:old  woman.  Why  do  women  allow 
marriage,  the  holy  thing,  to  work  this  wicked  trans- 
formation? ,    ,  . 

MARGARET  SANGER,  the  acknowledged  world  leader 
of  the  Birth  Control  movement  and  President  ot  the 
American  Birth  Control  League,  has  the  answer  for  this 
most  momentuous  problem  of  womankind.  Every  married 
woman  knows  only  too  well  the  tragedies  resulting  from 
ignorance  of  birth  control. 

Why  should  a  woman  sacrifice  her  love-life — a  posses- 
sion she  otherwise  uses  every  resource  to  keep?  Why 
does  she  give  birth  to  a  rapid  succession  of  children,  if 

she  has  neither  the 
means  to  provide  for 
them  nor  the  physi- 
cal strength  properly 
to  care  for  them? 

In  her  daring  and 
startling  book  Mar- 
garet Sanger  gives  to 
the  women  of  the 
world  the  knowledge 
she  dared  to  print — 
the  knowledge  for 
which  she  faced  jail 
and  fought  through 
every  court  to  estab- 
lish as  woman's  in- 
alienable right  to 
know. 

"In  Woman  and 
the  New  Race"  she 
shows  how  woman 
can  and  will  rise 
above  the  forces  that, 
in  too  many  cases, 
have  ruined  her 
beauty  through  the 
ages — that  still  drag 
her  down  today — 
that  wreck  her  men- 
tal and  physical 
strength — that  dis- 
qualify her  for 
society,  for  self-im- 
provement —  that 


Partial  List 
of  Con  ten  ts 

•Woman's  Error  and  Her 
Debt. 

Two  Classes  of  Women. 
Cries  of  Despair. 

♦  When  Should  a  Woman 

Avoid  Having  Chil- 
dren? 

Birth  Control — A  Par- 
ent's Problem  or 
Woman's. 

♦Continence — Is  It  Prac- 
ticable or  Desirable? 

♦Are  Preventive  Means 
Certain? 

♦  Contraceptives  or  Abor- 

tion? 

Women    and    the  New 

Morality. 
Legislating  Woman's 

Morals. 
Why  Not  Birth  Control 
Clinics    in  America? 
Progress  We  Have  Made. 
•Any  one  of  these  chap- 
ters alone  is  worth  many 
times    the    price   of  the 
book. 


finally  shut  her  out  from  the  thing  she  cherishes  most: 
her  husband's  love. 

In  blazing  this  revolutionary  trail  to  the  new  freedom 
of  women,  this  daring  and  heroic  author  points  out  that 
women  who  cannot  afford  to  have  more  than  one  or  two 
children,  should  not  do  so.  It  is  a  crime  to  herself,  a 
crime  to  her  children,  a  crime  to  society.  And  now  for 
the  first  time  Mrs.  Sanger  shows  the  way  out.  And  she 
brings  to  the  women  of  the  world  the  greatest  message 
it  has  been  their  good  fortune  to  receive. 

"Woman  and  the  New  Race"  is  a  book  that  will  be 
read  wherever  womankind  struggles  with  the  ever-present 
danger  of  too  many  children.  It  is  a  startling, 
mighty  revelation  of  new  truth,  a  work  that  will  open 
the  eyes  of  tired,  worn  womankind.  It  can  with  truth 
and  honesty  be  called  woman's  salvation. 

Every  woman  in  the  country  should  have  a  copy  ot 
this  remarkable  and  courageous  work.  For  this  reason 
we  have  arranged  a  special  edition  of  "Woman  ana  the 
New  Race"  at  only  $2.00  a  copy. 

Send  No  Money 

The  book  is  bound  in  handsome,  durable  gray  cloth, 
has  artistic  black  lettering  and  is  printed  from  large 
type  on  good  paper.  It  contains  23  4  pages  of  priceless 
information.  To  have  it  come  to  you,  merely  fill  In 
and  mail  the  coupon  below.  It  is  sent  to  you  in  a 
plain  wrapper.  When  "Woman  and  the  New  Race"  is 
delivered  to  you  by  the  postman,  pay  him  $2.00  plus 
postage — but  send  no  money  with  the  coupon.  There 
will  be  an  unprecedented  demand  for  this  edition, 
which  will  soon  be  exhausted,  so  you  are  urged  to 
mail  the  coupon  now — at  once. 

TRUTH  PUBLISHING  CO. 

Dept.  T-633,  1400  Broadway,  New  York  City 


Truth  Publishing  Co. 

Dept.  T-C33,  1400  Broadway,  New  York  City 

Gentlemen:  Please  send  me,  in  plain  wrapper,  Mar- 
garet Sanger's  book,  "Woman  and  the  New  Race.  I 
am  enclosing  no  money,  but  will  give  the  postman  who 
delivers  the  book  to  me,  $2,00  plus  postage. 


Name  •  •  •  • 

Address  ...  .*. .  . . — 

City  •  State  

Canadian  and  foreign  orders  must  be  accompanied  by 
money  order. 


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Screen  fans  who  have  admired  Mary 
Miles  Minter  will  regret  to  learn  that 
she  is  to  return  to  the  Speaking  Stage, 
which  she  left  when  she  was  a  child  star 
in  "The  Littlest  Eebel";  and  she  hasn't 
used  her  voice  in  public  in  the  meantime. 
Just  as  soon  as  she  finishes  her  last  pic- 
ture for  Famous  Players-Lasky  she'll 
come  back  to  Broadway. 


How  the  Money  Rolls  In 

T  he  movies  have  been  exceeding- 
ly kind  to  the  followers  who  have 
stuck  to  the  screen  and  with  any 
kind  of  a  run  of  good  luck  the  aver- 
age star  can  keep  from  going  "over 
the  hill"  for  many  years. 

Recent  years  have  sent  screen 
salaries  to  where,  with  good  judg- 
ment used  in  the  investment  of 
what  the  stars  have  made  they  have 
been  able  to  build  up  some  pretty 
neat  fortunes.  And  don't  let  the 
idea  get  into  your  head  that  the 
average  star  is  not  fragile  or  that 
they  spend  all  their  money  in  riot- 
ous living. 

True  some  of  the  big  money  mak- 
ers in  the  game  have  squandered  a 
good  portion  of  their  earnings  on 
wild  parties  and  a  few  gone  through 
with  the  receipts  as  fast  as  they 
came  in,  but  as  a  whole  the  screen 
stars  are  level-headed  business  peo- 
ple, they  realized  their  popularity 
can  not  last  forever,  and  they  are 
putting  their  proceeds  where  it  will 
work  for  them. 

Probably  the  leading  financier  of 
the  silver  sheet  is  Mary  Pickford, 
whose  personal  fortune  is  estimated 
at  $1,500,000  safely  invested  in 
bonds  of  the  government  besides  a 
considerable  amount  of  money 
which  is  naturally  used  in  her  cur- 
rent pictures.  She  and  Doug  Fair- 
banks have  a  $350,000  home  and 
several  hundred  thousand  dollars 
invested  in  their  studio  and  its 
equipment.  Mary  is  not  only  the 
queen  but  also  the  wealthiest  in- 
dividual in  the  movies. 

Charlie  Chaplin  is  no  doubt  next 
in  line  as  a  movie  financier.  He  has 
a  beautiful  new  $100,000  home  and 
a  studio  that  is  valued  at  a  quarter 
of  a  million  dollars.  He  has  in- 
vested quite  a  sum  in  California  real 
estate  and  the  financing  of  his  own 
production  keeps  a  large  amount  of 
his  cash  at  work. 

Harold  Lloyd  has  been  quite  suc- 
cessful and  has  a  neat  fortune  in 
railroad  and  Liberty  bonds  and  is  a 
heavy  investor  in  real  estate. 

Norma  Talmadge  probably  has  a 
million  dollars  invested  in  stock  and 
bonds  and  is  a  half  owner  in  "The 
Music  Box  Revue." 

The  Gish  girls  each  draw  down 
about  $1,500  a  month  in  interest 
and  have  a  beautiful  home. 

Mary  Miles  Minter  has  spent  a 
quarter  of  a  million  for  a  home 


$10  for  the  best  answer  to  "Which  Advertisement  in  This  Issue  of  Screenland  Appeals  to  You  Most— and  Why?" 


FREE! 


F.  SCOTT  FITZGERALD'S 
FAMOUS  NOVEL 


THE  BEAUTIFUL  AND  DAMNED 


"Anthony  pulled  Gloria 
quickly  to  her  feet  and  held 
her  helpless,  -without  breath, 
in  a  kiss  that  was  neither  a 
game  nor  a  tribute." 


F.  Scott  Fitzgerald's 
story,  The  Beautiful  and 
Damned,  has  been  adhered  to 
faithfully  in  the  Warner  Bros, 
screen  version.  The  picture 
siveeps  on  to  a  triumphant  cli- 
max. .  .  .  Marie  Prevost  as 
Gloria  does  the  best  work  of 
her  career.  Kenneth  Harlan  as 
Anthony  Patch  is  convincing. 
...  .  Not  heroic,  \  '  \ 
Just  human.    .    .  . 


-From  Screenland 
February,  1923 


revieiv, 


If  you  have  „  enjoyed  Warner  Brother's 
screen  version  of  F.  Scott  Fitzgerald's  famous 
novel,  The  Beautiful  and  Damned;  if  you  have 
thrilled  over  Kenneth  Harlan's  vivid  courtship 
of  Gloria  Gilbert,  played  by  dainty  Marie  Pre- 
vost ;  if  you  have  any  desire  to  keep  up  with 
the  worth-while  literature  of  the  day,  you  will 
want  to  read  this  book. 

Fitzgerald's  piquant  style,  his  clever  cyni- 
cisms, his  well-turned  sentences  and  his  rapid 
story  action  are  the  talk  of  the  country.  When 
the  book  is  discussed  over  the  dinner  table  or 
after  the  theatre,  you  will  want  to  discuss  it, 
too. 


The  Beautiful  and  Damned,  in  a  handsome 
$2.00  edition,  is  yours,  FREE.  SCREEN- 
LAND  has  a  copy  for  YOU.  It  will  cost  you 
not  one  penny. 

All  you  have  to  do  to  secure  this  beautiful 
free  copy  of  the  season's  most  sensational 
novel,  is  to  mail  us  the  attached  coupon,  with 
$2.50,  for  a  year's  subscription  to  SCREEN- 
LAND.    The  book  is  our  gift  to  you. 

We  have  only  a  limited  number  of  these 
books.  This  offer  holds  good  only  until  one 
small  supply  is  exhausted. 

So  don't  wait.    Mail  the  coupon  TODAY. 


FREE! 


I        Circulation  Manager,  SCREENLAND,  Hollywood,  Calif.: 

Please  send  me  the  FREE  copy  of  The  Beautiful  and  Damned,  with  one   year's   subscription  to  SCREENLAND,  for 
which  I  enclose  $2.50. 

Ktame  '..   .....    ,   v   ■■  ■■■       Address  ...    •  ... 

■ 

t-  City   State  t  


Send  your  letter  to  Advertising  Manager,  Screenland  Magazine,  Hollywood,  Calif. 


7 


IJou  an^utfior?  Why  not  ? 


LAURA  ROUNTREE  SMITH 
Author  ofChldms  Bookf  on4 
Contributor  to  Magazines 
"Any  ambitious  student 
will  be  helped  by  Dr. 
Esenwein's  course  in 
short-story  writing  It 
will  do  what  it  claims— 
actually  teach   how  to 
write  the  shorlstory. 
The  letters  from  Dr. 
Esenwein  are  alone  worth 
the  price  ol  the  course." 


WHY  DON'T  YOU,  too,  put  your  imag- 
ination to  work  just  as  these  successful 
writers -have  done? 

You  can  cultivate  your  gifts;  master  the 
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only  by  creative  workers. 

Short-Story  Training 

will  develop  your  literary  gifts.  It  will  teach  you  how  to 
write,  what  to  write  and  where  "to  sell.  You  can  acquire 
this  training  in  your-  spare  time  from  our  staff  of  literary 
experts  headed  by  Dr.  J.  Berg  Esenwein,  famous  critic  and 
teacher,  editor  of  The  Writer's  Monthly.  Dr.  Esenwein 
offers  you  constructive  criticism;  frank,  honest,  helpful 
advice:  real  teaching.  One  pupil  has  earned  over  $5,000 
writing  in  his  spare  time— hundreds  are  selling  constantly 
to  the  leading  publishers. 

In  addition  to  the  courses  in  Short-Story  Writing 
(taught  by  Dr.  Esenwein),  courses  are  offered  in  Versifica- 
tion, Journalism,  Play  Writing  and  Photoplay  Writing. 
Universities  recognize  the  unique  position  of  this  School, 
for  over  100  members  of  their  English  faculties  are  study- 
ing in  our  literary  department.  Editors  are  constantly 
recommending  our  courses  to  their  contributors. 

Send  at  once  the  coupon  below  for  150  page  illus- 
trated catalog  of  the  School  (free).    Please  address: 

the  Home  Correspondence  School 


Dept.  29 


Established  1897    Springfield,  Mass. 


We  publish  The  Writer's  Library.  13  volumes,  descriptive 
booklet  free.  Also  The  Writer's  Monthly,  the  leading 
magazine  for  literary  workers;  sample  copy  15  cents,  S3-00 
per  year.    (On  sale  at  all  high  grade  news  stands.) 


IRVING  T.  McDONALD 
Theatrical  Manager.  Photoplay  H'nte* 
and  Novelist 
"The  supremacy  of  Dr. 
Esenwein  in  his  field  is 
unquestioned    He  com- 
bines a  thorough  know, 
ledge  of  forms  and  effects 
with  the  means  of  their 
accomplishment,  and  all 
this  is  backed  bv  the  au- 
thontv  ot  his  practical 
experience." 

CORINNE  HARRIS  MARKEY 

Wrjttr  of  Short-Slona 

"I  am  glad  to  recommend 
Dr  Esenwein's  course  in 
story  writing  I  teel  that 
I  have  been  immeasurably 
helped  by  studying  under 
Dr  Esenwein,  and  I've 
had  such  a  good  time'" 


J.  E.  BULLA RD 
Successful  Fiet-Lance  Witter 
"My  net  income  from  writ 
ing,  since  I  began  to  study 
the  short-story  under  Dr 
Esenwein,  has  been  many 
times  greater  than  it  had 
been  all  the  years  I  had 
been  writing  previously  Dr 
Esenwein's  course  will  be 
of  untold  aid  to  every  writer 
It  fits  one  to  meet  the  de- 
mands of  the  modern  edit  or." 


ROBERT  E.  RAMSAY 


YETTA  KAY  STODDARD 
Pott  and  Children's  Wrtttt 
"It  has  often  been  my 
pleasure  to  recommend 
Dr  Esenwein's  course  in 
Short-Story  Writing  to  be- 
ginners who,  like  mvsell. 
are  seeking  to  learn  how 
to  write  compelling  fic- 
tion. The  benefits  of  the 
course  to  me  have  been 
many  and  far-reaching 
Dr  Esenwein  has  struck 
at  the  root  of  my  difficul 
ties.  Because  of  tins  I 
have  been  saved  many 
years  of  literary  groping 
and  embarrassment." 


JLDITH  SOL1S-COHEN 
Critic  and  Writer 
"An  expert  and  sympathetic 
guide  is  Dr  Esenwein 
His  Writing  the 
Short  -Storv'  is 
my  most  help- 
ful book." 


Newcomb  &  Co 
Neu)  Yorlt 
The  importance  of 
the  study  of  the 
short-siory,  by  ad- 
vertisers and  adver- 
tising men,  has  not 
been  sufficiently  ap- 
preciated I  have 
very  largely  bene- 
fitted by  Dr  Esen- 
wein's course,  both 
in  this  way  and  in 
the  aciual  writing 
of  stones." 


EARL  G.  CURTIS 
Short-Story  Writer  and  Novelist 
'I  want  to  say  thai  Dr  Esenwein's 
^hort-storv  course  will  save  years  of 
unguided  effort  for  the  beginner 
who  possesses  the  unflagging  de-, 
terminal  ion  requisite  to  success-. 
Not  the  least  important,  the  pupil 
learns  what  not  to  write." 


EUGENE  CUNNINGHAM- 
Author  o]  SU,rl. Stones  and 
havel  Art.de> 
"The  school  makes  good  its 
promises.    Dt  Esenwein's 
"    rse  is  excellent  and  eas- 
mastered    He  is  the 
nest,  most  helplul  liter- 
cm  ic  1  have  louml  " 


HELEN  SHERMAN  GRIFFITH 
Novelist.  Plawrighl  and 

Story  Wrtttt 
"It  was  like  having  a 
dream  come  true  when 
Dr  Esenwein  became 
head  ol  the  story-wnt- 
ing  course  in  The 
Home  Correspondence 
School,  and  broughl  its 
help  to  me  '* 


ALMA  BOICE  HOLLAND 

Writer 
"The  favorable  results 
which  have  attended 
mv  writing  from  the 
beginning.  I  gratefully 
attnbutt  to  the  teach- 
ings ol  Dr  J.  Berg 
Esenwein." 


c 


The  Home 
Correspondence  School 
Dept.    2  •     Springfield,  Mass. 

Gentlemen  — 
;,nt  .send  me,  without  oWiRnrion  on 
nv  part,  vour  catalog  describing  Dr  Esen- 
*  Short-Story  Course  and  other  impori/>ni 


DR.  |  BERG  ESENWEIN 

Editor  of  Tht  Wr,tc,\  Monthly 

Famous  crmc  unci  teacher  who  heads  the  litenirv  stall  of 
The  Home  Correspondence  School.  For  many  >ears  Edilor 
ol  Lippincoifs  Magazine 


Name  . 
Address 
Ciry 


STUDIOS  and 

ADDRESSES 


Astra  Studios   Glendale,  Calif. 

Balboa  Studio  East  Long  Beach,  Calif. 

Belasco  Studios,  833  Market  St.,  San  Francisco 
Chester  Bennet  Prod  

 Brunton  Studio,  Hollywood 

Blue  Ribbon  Comedies  

 1438  Gower  St.,  Hollywood 

Brunton  Studio,  5300  Melrose  Ave.,  Hollywood 
Berwilla  Studios  

 5821  Santa  Monica  Blvd.,  Hollywood 

Century    Film    Corp  :  

 6100  Sunset  Blvd.,  Hollywood 

C.    L.    Chester  Productions  

 1438  Gower  St.,  Hollywood 

Christie  Comedies   

 6101  Sunset  Blvd.,  Hollywood 

Irving  Cummings  Prod  1729  Highland  Ave. 

Doubleday  Productions  

 Sunset  and  Bronson  Ave.,  Hollywood 

Earle  Ferdinand  Productions  

 Hollywood  Studios,  Hollywood 

Wm.   Fox  West  Coast  Studio  

 1417  N.  Western  Ave.,  Hollywood 

Fine  Arts  Studios  

 4500  Sunset  Blvd.,  Hollywood 

J.  L.  Frothingham  Prod  Brunton  Studio 

Garsoh  Studios  1845  Glendale  Blvd.,  Glendale 

Goldwyn  Studio  Culver  City 

Great  Western  Producing  Co  

 6100  Sunset  Blvd.,  Hollywood 

Thos.  H.  Ince  Productions  Culver  City 

Lasky  Studios  ..1520  Vine  St. 

Lois   B.  Mayer  Studios  

 3800  Mission  Road,  Los  Angeles 

Metro  Studio   

....Romaine  and  Cahuenga  Ave.,  Hollywood 

Morosco  Productions  3800  Mission  Road 

Bud  Osborne  Productions  6514  Romaine  St. 

Pacific  Studios  Corp  San  Mateo,  Calif. 

Pacific  Film  Co  Culver  City 

Mary   Pickford  Co  

 Brunton   Studios,  Hollywood 

R-D  Film  Corp  Balboa  Studios,  Long  Beach 

Realart  Studio,  201  N.  Occidental,  Los  Angeles 

Robertson-Cole  Productions   

 Melrose  and  Gower,  Hollywood 

Will   Rogers  Productions  

 Hollywood  Studios,  6642  S.  M.  Blvd. 

Russel-Griever-Russell  6070  Sunset  Blvd. 

Hal  E.  Roach  Studio  Culver  City 

Morrie  R.  Schlank  Productions  6050  Sunset 

Chas.  R.  Seeling  Productions  

 1240  S.  Olive,  Los  Angeles 

Selig-Rork  3800  Mission  Road,  Los  Angeles 

Universal   Studio  Universal  City,  Calif. 

King  Vidor  Prod  Ince  Studios,  Culver  City 

Vitagraph  Studio,  1708  Talmadge,  Los  Angeles 

Cyrus  J.  Williams  Co  

 5544  Hollywood  Blvd.,  Hollywood 

Cyrus   J.   Williams  Co  

 4811  Fountain  Ave.,  Hollywood 

Wilnat   Films,   Inc  -.  

 1329  Gordon   St.,   Los  Angeles 

Ben  Wilson  Productions  Berwilla  Studios 


EASTERN  STUDIOS 

Biograph  Studios  807  E.  175th  St.,  N.  Y.  C. 

Plackton  Studios   Brooklyn,  N.  Y. 

Estee  Studios  124  W.  125th  St.,  N.  Y.  C. 

Fox  Studios  West  55th  St.,  N.  Y.  C. 

D.  W.  Griffith  Studios  Mamaroneck,  N.  Y. 

International  Film  2478  2d  Ave.,  N.  Y.  C. 

Harry  Levy  Prod  230  W.  38th  St.,  N.  Y.  C. 

Lincoln  Studio  Grantwood,  N.  J. 

Mirror  Studios  Glendale,  Long  Island,  N.  Y. 

Pathe  1900  Park  Ave.,  N.  Y.  C. 

Selznick  Studios  Fort  Lee,  N.  J. 

Talmadge  Studios,  318  East  48th  St.,  N.  Y.  C. 
Vitagraph  Studios.. E.  15th  St.,  Brooklyn,  N.  Y. 


$10  for  the  best  answer  to  "Which  Advertisement  in  This  Issue  of  Screenland  Appeals  to  You  Most— and  Why?" 


DECORATIVE  ARTS 
LEAGUE 

175  FIFTH  AVENUE 
New  York 


"Aurora 


— the  perfect  lamp 
The  League's  first  public  offering 

DESIGNED  for  the  League,  in  col- 
laboration, by  three  talented  artists, 
unfettered    by    "commercial"    efforts  to 
produce  a  "popular  seller"— aiming  only 
to  produce   a   perfect   lamp,   in  perfect 
design — and  unrestricted  as  to  cost.  If 
you  searched  the  Fifth  Avenue  shops,  the 
jewelers  and  galleries,  you  might  find  a 
lamp  as  beautiful,  and  as  pure  in  design 
as  this— at  $15  or  $20  (not  a'  high  price 
for  an  artist's  design  when  only  a  few 
copies  are  sold  to  share  the  high  fee  for 
designing).    But  because  the  League  can 
reach  at  once  its  members  in  all  parts  of 
the  United  States,  and  can  receive 
many  orders  for  replicas  of  this 
or     design   quickly— the   designing  fee 
4»9fi  Per   lamp  is   compara-  <t»( 
tively    small    and    the  V 
entire  cost  of  the  lamp,  to 
members,  is  only  

That  is  but  one  of  the  many  advantages 
of  being  a  member. 

rTTHE  offer  is  an  excellent  example  of 
J-  the  principle  on  which  the  League 
works;  of  the  success  of  its  plan  {which 
Art  experts  thought  impossible)  ;  and 
of  the  lozv  prices  and  high  values  made 
possible  by  united,  and  prompt,  action 
among  its  members.  (See  Coupon) 


$15 


3 


.50 


beauty 
appeal 

AURORAeLamp  "within  the  Text" few  ^tTth^»K^^^^'^'  ^ment  *  A 
Respective  numbers  among  the  readers  of  this  magazine  by  means  of  an  advertisement.  A 

prompt  reply  is  requested. 

TO  EXTEND  the  membership  of  the  League  to  a  few  suitable  mem- 
bers in  each  community,  we  offer  "Aurora"  at  the  same  price  as  earlier 
members  paid.  But  orders  at  this  price  should  reach  us  almost  at  once— be- 
fore a  definite  limit  is  placed  on  the  number  that  can  be  made  this  season. 

You  can  have  a  choice  of  two  color-schemes— 
rich  Statuary  Bronze  with  brass  bound  Parch- 
ment shade  of  a  Neutral  Brown  tone;  or  Ivory 
White  with  Golden  Yellow  Shade. 

The  inside  of  the  shade  has  old  rose  reflecting 
surface,  casting  a  light  which  is  comfortable  to 
the  eye  and  giving  an  indefinable  touch  of 
cheerfulness  to  everything  within  its  rays.  The 
light  coming  through  it  is  "carved"  or  cut  by 
Grecian  lines  in  an  effect  equally  charming 
whether  viewed  at  a  distance  or  near  at  hand. 

"Aurora"  is  equipped  only  for  electricity;  it 
has  a  push-button  socket,  six  feet  of  insulated 
cord,  and  two-piece  attachment  plug.    A  cleverly 


BEFORE  you  can  have  any  true  conception 
of  its  subtle  charm,  its  exquisite  artistry, 
the  purity  of  its  design  and  its  quality  of 
harmonizing  with  its  surroundings  and  never 
wearying  the  eye— "AURORA"  must  be  seen 
and  used  in  your  own  home. 

No  illustrations  or  printed  description  can  do 
it  justice.  That  is  why  the  League  sends  it  on 
approval;  (read  the  coupon). 

Pictures  and  words  cannot  tell  it 
Aurora  stands  16  inches  high,  with  shade  10% 
inches  in  diameter.   The  base  and  cap  are  cast 
in  solid  Medallium  and  the  shaft  is  of  seamless 
brass. 


COUPON 


SCREENLAND 


DECORATIVE  ARTS  LEAGUE 

175  Fifth  Ave.,  New  York  City  Mm, 
APPROVAI  •  I  am  a  reader  of  SCREENLAND  Please  send  me  a'  th^  League  Members 
ArrKUVAL.  soecial  r,rice  an  exact  replica  of  the  "Aurora'  Lamp,  and  1  will  pay  tne 
postman  $3.50,  plus^the  pSsta^ef  when  delivered.  If  not  satisfactory  I  can  return  the  lamp 
within  five  days  of  receipt  and  you  are  to  refund  my  money  m  full. 

State  finish  desired  (Ivory  or  Bronze)  

You  may  enter  my  name  as  a  Corresponding  Member  of  the  Decorative  Arts  League  it 

of  really  artistic  new  things  for  home  decorations.  (gL^ 
Signed 


Address 


City 


State 


designed  holder  on  the  shade  permits  its  in- 
stant adjustment  to  any  angle. 

A  perfectly  designed  lamp,  remember,  is  in 
reality  three  objects  of  beauty  and  artistic 
satisfaction;  the  first  when  it  is  viewed  by 
daylight  or  other  light  than  its  own;  the 
second  and  entirely  different  effect,  when  it  is 
lighted  and  viewed  near  at  hand;  the  third, 
when  its  artfully  moulded  mass  of  glowing 
light  is  seen  at  a  distance. 

"Aurora's"  exquisite  grace-lines 

The  artists  designing  it  are  dealing  not  only 
with  material  substances;  they  are  carving 
and  moulding  Light  itself.  No  other  form  of 
art  offers  the  artist  such  possibilities  of  new 
triumphs  or  gives  such  a  challenge  to  his 
genius,  his  patience,  and  his  will  to  achieve 
perfection. 

From  the  top  of  its  shade  to  its  base,  the 
"Aurora"  Lamp  forms  a  perfect  picture  of  ar- 
tistic unity  and  beauty.  The  "grace  line"  from 
its  cap,  down  the  gently  swelling  shaft,  out- 
ward to  the  edge  of  its  base  and  over  to  the 
tiny  feet  which  lift  it  slightly  above  the  table, 
with  the  glow  of  its  own  light  underneath  its 
own  base — is  a  never-fading  delight  to  any 
lover  of  beauty:— a  ripple,  a  wave,  a  sugges- 
tion of  upward  buoyant  movement,  attained 
only  by  that  genius  which  is  "infinite  pains." 

We  let  it  speak  for  itself 

No  illustration  can  reproduce  it.  So  we  send 
the  "Aurora"  Lamp  itself.  We  make  no  at- 
tempt to  "sell"  it  to  you,  in  the  ordinary 
sense.  We  simply  let  it  speak  for  itself,  in 
your  own  home. 

If  it  does  not  please  you  we  do  not  want  you 
to  keep  it.    We  take  it  back  immediately. 

If  you  can  decide  and  send  at  once  you  can 
have  one  of  these  beautiful  lamps  for  $3.50. 

But  we  do  not  know  how  many  replicas  of 
the  "Aurora"  Lamp  will  be  asked  for;  we  do 
not  know  for  how  many  there  will  be  material 
available  when  wanted;  we  do  not  know  how 
soon  the  price  must  be  increased. 

We  have  to  know  quickly 

We  must  make  the  decision  in  the  next  few 
days.  We  ask  only  that  you  will  help  us  in  our 
plans,  by  sending  your  reply  at  once. 


Send  your  letter  to  Advertising  Manager,  Screenland  Magazine.  Hollywood.  Calif. 


The  Confessions  of  a 
Well-dressed  Woman 


By  MARJORIE  DICKSON 


Some  people  say  it  is  not  wise  to  be  too 
frank  and  open  in  print. 

Perhaps  not — for  there  are  many  who 
might  misjudge  or  zvho  might  not  under- 
stand. 

Yet  when  one's  life  has  been  crowded 
full  of  sunlight  and  shadow,  and  the  sun- 
light has  come,  finally,  to  stay,  it  is  not 
easy  then  to  keep  silent.  Nor  is  it  fair 
and  just  to  other  women. 

So  I  shall  be  very  frank  in  this  little 
story  which  I  am  about  to  tell  you.  And 
if,  in  uncovering  my  heart,  I  may  be  the 
means  of  helping  other  women  and  girls 
to  find  something  of  the  happiness  that 
has  come  to  me,  I  shall  be  very  glad. 

My  Girlhood 

MT  girlhood  was  surprisingly  like 
that  of  other  girls.  I  went  to 
school — I  helped  a  little  around  the 
house — I  was  satisfied  simply  to  play. 
Until  I  was  fourteen,  one  day  was  just 
like  another. 

There    were    little   parties   in  the 
neighborhood   to    which   I   was  always 
invited— perhaps   a  boy  or  two  that  I 
liked  a  little  better  than  the  others — but 
it  was  only  a  fleeting  fancy. 

My  mother  made  my  simple,  little 
dresses,  and  they  seemed  very  nice  and 
pretty  to  me  then.  I  knew,  in  a  vague 
way,  that  the  family  income  wasn't 
large,  and  it  seemed  to  me  sometimes 
that  my  mother  wasn't  as  well  dressed 
as  some  other  women  I  knew. 

But  it  didn't  worry  me  very  much  or 
very  long.  One  does  not  have  many 
worries  when  one  is  fourteen.  The  world 
is  very  kind  and  good  to  Youth. 

But  it  was  not  always  to  be  so.  As  I 
passed  my  sixteenth  and  eighteenth 
birthdays  I  began  to  realize  more  and 
more  the  very  great  influence  that  pretty 
clothes  have  on  a  girl's  life. 

I  shall  never  forget  the  days  when  I 
used  to  go  through  the  shops  and  look 
at  the  pretty  dresses.  How  my  heart 
ached  to  have  just  one  of  them! 

There  they  were — so  trim — so  beauti- 
ful— so  near  and  yet  so  far.  I  could 
reach  out  my  hand  and  touch  them.  I 
could  picture  myself  wearing  them — this 
one  to  a  dance — this  one  when  friends 
would  call — this  one  to  a  theatre  party. 

Then  stern  reality  would  force  me  to 
read  the  price  tags  and  I  would  turn 
sadly  away.  No — these  dresses  were  not 
for  me.  And  because  they  were  not  for 
me,  I  began  to  miss  many  of  the  good 
things  in  life. 

An  Embarrassing  Question 

MY  friends  began  to  grow  away  from 
me — many  of  them  announcing  their 
engagement  and  marriage.  My  father 
used  to  ask  me  why  Tom  or  Frank  didn't 
come  to  see  me  any  more  and  then  mother 
would  stop  him  with  a  whispered  "Hush!" 

Poor  soul!  She  knew  from  experience 
the  humiliation  and  embarrassment  I 
was  suffering  because  I  did  not  have 
pretty  clothes  like  other  girls. 

A  year  ago  I  was  nearly  desperate — 
I  simply  had  to  have  some  new  clothes. 
Yet  I  hadn't  the  least  idea  where  I  could 
get  the  money.  Then  Mary  Allison  came 
to  see  me! 

Mary  and  I  had  been  schoolgirls  to- 
gether. Then  she  moved  away,  and  while 
we  had  corresponded  regularly  at  first, 
the  letters  grew  more  and  more  in- 
frequent, and  finally  we  stopped  writing 
altogether. 

Once  in  a  while,  however,  some  mutual 
friend  would  tell  me  of  having  seen  Mary 
— how  popular  she  had  become — of  her 
beautiful  clothes  —  and  finally  of  her 
engagement  and  marriage. 

And  here  she  was,  right  before  me! 
I     "Mary  Allison!"  I  exclaimed.  "What 
in  the  world  are  you  doing  here?" 
I     "Been  taking  a  trip  with  my  husband," 
she  replied  gayly.    "He's  busy  with  busi- 


ness this  morning  so  I  thought  I'd  run 
around  and  see  my  old  friends.  It's  so 
good  to  see  you  again.  Married?" 

I  shook  my  head.  "Not  yet,"  I  replied. 
"Guess  I'll  be  the  old  maid  of  the  family." 

"Nonsense!  Why,  Tom  used  to  be  crazy 
about  you!" 

"That  was  before  clothes  counted  as 
much  as  they  do  when  a  girl  gets  older," 
I  answered.  "Tom  hasn't  been  to  see  me 
in  months.  If  I  only  had  the  money  to — " 

"You  don't  need  money — at  least  not 
much,"  Mary  interrupted.  "Do  you  know 
what  this  dress  cost?" 

I  shook  my  head. 

"Just  $9.85.  And  I  have  three  others 
just  as  pretty  that  I  made  especially  for 
this  trip.  All  four  put  together  didn't 
cost  me  over  $40.  Do  you  really  want 
to  know  how  I  got  them?" 

"Do  I?"  I  exclaimed.  "Do  you  think 
I'd  be  wearing  this  outfit  if  I  could  have 
one  like  yours?" 

Mary  smiled.  "Just  listen,  and  I'll  tell 
you  the  whole  blessed  story." 

She  drew  her  chair  close  to  mine  and 
talked  for  fully  half  an  hour.  And 
finally,  as  she  finished  and  rose  to  go, 
she  made  me  make  a  promise.  "You 
won't  forget  it,  will  you?"  she  asked. 

"Indeed  I  won't,"  I  replied  warmly. 
"I'll  write  to-day." 

I didn't  know  it  at  the  time,  but  that 
promise  was  to  be  the  means  of  chang- 
ing my  life.  For  that  day  I  mailed  a 
letter  to  the  Woman's  Institute. 

In  a  few  days  the  postman  brought  me 
a  friendly  reply  from  the  Institute  and 
a  wonderfully  interesting  booklet  that 
told  the  whole  story  of  its  new  plan  by 
which  so  many  women  and  girls  have 
learned  at  home  to  make  pretty,  be- 
coming clothes.  I  saw  at  once  that  here 
was  a  solution  to  all  my  problems,  so 
I  enrolled  for  a  course  in  dressmaking. 

The  Institute  made  everything  so  plain 
and  the  teachers  took  such  a  personal 
interest  in  me,  that  in  just  a  little  while, 
I  was  able  not  only  to  make  all  my  own 
clothes,  but  to  make  them  as  they  are 
made  in  the  best  shops. 

For  not  only  did  I  learn  every  detail 
of  garment  construction,  but  I  learned 
the  fascinating  secrets  of  distinctive 
dress;  what  lines  and  colors  and  fabrics 
were  most  appropriate  for  me;  how  to 
copy  dresses  from  the  fashion  magazines 
or  the  shop  windows;  how  to  plan  and 
design  and  completely  make  clothes  with 
the  little  distinctive  touches  that  enabled 
me  to  always  appear  at  my  best. 

Naturally  the  neighbors  began  admir- 
ing my  clothes  and  asking  me  where 
I  got  them.  They  were  almost  too  sur- 
prised for  words  when  I  told  them  I 
had  made  them  all  myself.  They  would 
have  been  even  more  surprised  if  I  had 
told  them  how  little  they  cost. 


To  me,  the  most  important  thing  Is 
not  merely  that  I  now  have  the  pretty 
clothes  I  always  wanted,  but  what 
these  pretty  clothes  have  meant  to  me. 
They  have  meant  happiness — they  have 
meant  freedom  from  worry — they  have 
even  meant — love! 

On  my  desk  is  a  letter  that  I  have 
just  written  to  Mary  Allison.  I  want 
you  to  read  it,  too — for  it  shows  the 
shadows  have  gone  and  the  sunlight 
has  really  come  into  my  life  to  stay. 

Dear  Mary,: 

What  a  difference  a  few  months  make! 

Why,  it  seems  only  yesterday  that  I  was  so 
worried  about  the  clothes  problem  that  I  hardly 
knew  which  way  to  turn.  Then  you  came  along 
and  told  me  all  about  the  Woman's  Institute. 

To-day,  I  don't  believe  there  is  a  girl  in  town 
who  has  prettier  dresses  than  I  have. 

Just  the  other  afternoon,  as  I  was  walking 
down  the  street,  I  heard  Mrs.  Morton  (you  re- 
member her,  don't  you?)  say:  "There  goes 
Marjorie  Dickson.  Isn't  that  a  perfectly  lovely 
dress?  I  do  believe  she's  the  best  dressed  woman 
in  town  these  days." 

I  walked  right  along  as  if  I  hadn't  overheard, 
but  it  certainly  did  make  me  feel  good. 

Did  I  tell  you  in  my  last  letter  that  I  have 
started  to  sew  for  other  people?  I  have  made 
$75  since  I  wrote  you  last. 

Think  of  it,  Mary — $75  in  three  weeks!  You 
can't  imagine  how  good  it  feels  or  how  much  that 
money  has  helped  to  buy  other  things  I  needed. 

Write  to  me  often,  Mary,  for  I  count  you  one 
of  my  dearest  friends.  I  wouldn't  be  writing  this 
happy  letter  to-day  if  it  were  not  for  you  and 
the  Woman's  Institute. 

Marjorie. 

P.  S.  Don't  be  surprised  if  Tom  and  I  drop  in 
to  see  you  soon.  We're  to  be  married  in  the 
spring  and  we're  planning  to  stop  over  on  our 
honeymoon. 

WHAT  a  wonderful  story  is  revealed 
in  the  experiences  of  Mary  Allison 
and  Marjorie  Dickson!  What  an  inspiring 
story,  too,  for  every  woman  and  girl 
who  wants  pretty  clothes  and  has  been 
seeking  a  way  to  get  them. 

For  Mary  Allison  and  Marjorie  Dickson 
are  just  two  of  more  than  150,000  women 
and  girls  who  have  learned  dressmaking 
and  millinery,  right  at  home,  in  spare 
time,  through  the  Woman's  Institute. 
There  is  no  doubt  that  you  can  do  as  well. 

Send  for  This  Handsome 
64-page  Booklet 

IT  is  called  "Dressmaking 
Made  Easy,"  and  it 
tells  all  about  the 
Woman's  Institute!  It  de- 
scribes the  courses  in  de- 
tail and  explains  how  you, 
too,  can  learn  easily  and 
quickly,  in  spare  time  at 
home,  to  make  your  own 
clothes  and  hats  and  dress 
better  at  less  cost,  or  pre- 
pare for  success  in  the 
dressmaking  or  millinery 
profession.  Write  a  letter 
or  postal  or  send  the  cou- 
pon to-day  to  the  Woman's  Institute,  Dept. 
Scranton,  Penna.,  and  a  copy  of  this  handsome 
let  will  come  to  you,  absolutely  free,  by  return 


100-Q, 

book- 
mail. 


WOMAN'S  INSTITUTE 
Dept.  100-Q,  Scranton,  Penna. 
Without  cost  or  obligation,  please  send  me  a  copy 
of  your  64-page  booklet,  "Dressmaking  Made  Easy. 
I  am  most  interested  in  the  subject  before  which  I 
have  marked  an  X: — 

□  How  to  Make  My  Own  Clothes 

□  How  to  Make  Children's  Clothes 

□  How  to  Earn  Money  as  a  Dressmaker 

□  How  to  Plan  and  Design  Becoming  Clothes 

□  How  to  Make  My  Own  Hats 

□  How  to  Earn  Money  as  a  Milliner 


Name.. 


(Please  specify  whether  Mrs.  or  Miss) 


Address.. 


10 


$10  for  the  best  answer  to  "Which  Advertisement  in  This  Issue  of  Screenland  Appeals  to  You  Most— and  Why?" 


ft 


Beautiful  Claire  Windsor  is  portraying  the  role  of  the  Countess  lldga, 
in  the  Selznick  productions,  Rupert  of  Ilcntzau. 


II  ill  m 


itii 


SCREENLAND  GALLERY^ 


QHIPP 


Fasters  in  Babylon 

A  Story  of  the  Gay,  Lovable,  Reckless,  Rakish,  JVreckish 
Motion  Picture  Set  in  Romantic  Hollywood 

By  EMMY-LOU  APPLEGATE 

Synopsis  of  Events   You  Have  Escaped: 

I  ESSIE  TINTYPE  the  best  biscuit-shooter  that  ever  slapped  a  traveling-man  back 
in  Old  Man  Hawkins'  Emporium  Cafe,  left  Terre  Haute  flat,  after  reading  about  the 
Arhuckle  casf  and came  to  Hollywood.    Word  of  her  coming  threw  the  film  colony 

IE™  Ss^tea^s  ess  Seas 

Tessfe  St  her  threat  tighten  .   .  .  poor  little  butterfly,  fluttering  so  close  to  the 
candle  that  must  relentlessly  inevitably  singe  its  pretty  wings. 


No  W 


Go   On  With   The  Story  If  You  Dare 


B' 


ARKNESS  had  fallen  over 
Hollywood,  even  as  it  had 
done  the  preceding  night 
and  the  night  before  that. 
The  thing  seemed  to  have  become  a 
habit,  Tessie  stood  fingering  her 
ermine  wrap  uncertainly,  breathing 
in  the  heavy,  trop- 
ical scent  of  the 
tamale-tree  bloom- 
ing outside  her 
window. 

Should  she  go 
to  this  party  that 
the  Great  Director 
was  giving  for 
her?  Should  she? 
Was  it  to  be  a  nice 
party?  Tessie  had 
heard  tales — as 
who  has  not? — of 
wild  Hollywood 
orgies ;  mad  par- 
ties at  which  Win- 
hum  and  Postof- 
fice  were  shame- 
lessly indulged  in. 

But   she  could 
not   offend  the 
Great  Director.  Al- 
ready he  had  done 
so  much  for  her, 
in  a  friendly  way. 
This  apartment, 
this  very  ermine 
wrap,  were  kindly 
remembrances  from  this  kind  gen- 
tleman who  took  so  fatherly  an 
interest  in  the  little  girl  from  Terre 
Haute. 


The  sounding  of  a,  horn  from 
without  decided  Tessie.  Shrugging 
her  white  shoulders,  the  innocent 
girl  threw  the  snowy  wrap  about  her 
and  rus  hed  out,  L.U.E.,  into  the 
scented,  laughter-cruel  night. 


In  the  lovely  but  unsophisticated  gown  lent  her  by  Gloria 
Swanson,  Tessie's  young  loveliness  was  pitilessly  exposed With 
the  relish  of  a  child  showing  off,  Tessie  danced  between  the 
tables.  The  Great  Director  was  watching  her.  And  nis  tace 
was  expressionless  as  a  mask. 


driveway  that  led  at  last  to  the  Hol- 
lywood Y.  M.  C.  A.  Behind  dis- 
creetly-shaded windows,  close-locked 
figures  moved  to  the  swooning 
strains  of  the  two-step.  And  in  the 
long  room  the  air  was  heavy  with 
odors  of  white-rose  perfume  and  the 
effluvia  of  warm, 
uncovered  flesh. 
Flesh!  Flesh! 
Flesh  triumphant 
— e  very  w  h  ere 
white  naked  necks, 
soft  hands  and 
arms  bared  to  the 
elbows. 

Tessie  uttered  a 
cry,  swept  with  a 
shame  that  scorch- 
ed her  like  a 
flame.  "Oh,  this 
cruel,  wicked 
place!  Why  did 
we  come?" 

The  Great  Di- 
rector slipped  a 
thin  dime  into  the 
hand  of  a  soft-foot- 
ed servant,  who, 
drawing  his  own 
conclusions  and  a 
heavy  curtain,  led 
them  to  a  secluded 
table,  half  shaded 
from  the  dancers. 
In    the  lovely 


Well  may  you  ask,  gentle  reader,  but  unsophisticated  gown,  lent  her 

The  Great  Director's  powerful  by  Gloria  Swanson  Tessie  s  young 

motor    purred   smoothly   up   the  loveliness   was   pitilessly  exposed 

long    winding,    eucalyptus-shaded  With  the  (Continued  on  page  90.) 


Along  Hollywood's 


Adolph  Zukor,  president  of  Famous  Players- 
Lasky  Corp.,  said,  upon  stepping  off  the  train 
on  the  occasion  of  his  recent  visit  to  Los 
Angeles,  "The  Southland  is  God's  own  country. 
Would  that  I  could  make  my  home  in  this 
wonderful  climate  always." 

Formula  by  courtesy  Los  Angeles  Chamber  op  Comjiecce 


Rodolph  Valentino  attrib- 
utes his  lithe  grace  to  his 
military  training  in  the 
Italian  carabineri.  This 
photograph  v/as  taken 
when  he  was  a  corporal 
in  the  famous  Vermicelli 
Guards. 


Count  De  Roche  (a  Paris- 
ian importation)  touted  by 
Famous  Players-Lasky  as 
a  rival  to  Valentino.  The 
Count  seems  here  to  have 
little  of  the  lure  that  char- 
acterizes "The  Perfect 
Lover,"  on  the  other  side 
of  this  page. 


The  film  capital  turns  out  en  masse  tc  witness  the  annual 
New  Year's  Day  football  game  at  Pasadena.    See  how  many 
stars  you  can  pick  out  of  the  crowd  in  the  foreground. 


16 


Violets  And  Valentino 


H, 


The  Fragile  Amethist  Blooms  Fit  the  Aura  of  the 
Great  Lover,  Decides 

HAZEL     S C H T R U M P F 


_E  DWELLS  in  a  beauti- 
ful mansion  on  the  top  of  yon  hill 
— Rudy  Valentino — our  own  Rudy. 
It  does  not  look  like  other  man- 
sions, somehow.  There  is  an  aura 
around  it !  An  aura  of  violet,  mys- 
tic, colorful. 

I  was  to  meet  Rudy  today.  Oh, 
how  my  heart  did  beat!  Just  like 
the  wild  bird  beating  against  its 
cage — or  the  bill  collector  beating 
on  the  door ! 

Approaching  the  shrine  tim- 
idly, I  entered  to  find  myself 
in  a  large  Chinese  room  with 
gold  doors,  furnished  chastely 
with  an  ebony  chair,  lounge, 
an  altar  and  a  bowl  of  gold- 
fish. Even  the  goldfish  were 
solid  gold. 

On  the  altar  was  a  picture 
of  Rudy  — our  Rudy —  with 
candles  burning  before  it !  An 
incense  burner  sent  up  clouds 
of  incense. 

I  heard  the  sound  of  ap- 
proaching footsteps.  One  of 
the  gold  doors  opened.  Ah-, 
sure  enough,  'tis  he,  Rudy — 
our  Rudy — who  stands  before 
me. 

He  comes  toward  me — step- 
ping first  on  one  foot  and  then 
on  the  other! 

Oh,  it  was  thrilling! 

Rudy — our  Rudy — wore  a 
crashed  violet  Mandarin  suit 
embroidered  in  that  new  art 
shade  of  subdued  cobblestones. 

As  he  came  lilting  toward 
me,  Rudy,  our  Rudy  —  the 
purple  lights  reeled.    They  reeled 
for  nearly  a  whole  reel.    He  smiled 
his  slow,  "built-in,  $5,000-a-film-foot 
smile  at  me.    Extravagant  boy ! 

His  ebony  eyes  glowed  with  a 
golden  light — to  match  the  furni- 
ture !   They  had  a  look  in  them. 

He  had  just  finished  his  exercise 
with  his  goldfish  and  was  panting  a 
little.   He  lit  a  cigarette. 

"Rude  little  things,"  he  said — 
yet  there  was  a  note  of  fondness  in 
his  voice, — "they  chased  me  all  over 
the  pond.    Still  of  course  a  little 


heavy  exercise  is  good  for  me.  And 
fish  will  be  fish!" 

He  reached  for  the  violet  perfume 
atomizer.  It  is  characteristic  of 
Rudy  to  be  indulgent. 

"Perhaps  you  noticed  the  altar," 


Rudy's  eyes 
gleamed  with 
a  golden  light 
.  .  .  they  had 
a  look  in 
them! 


said  Rudy,  lighting  another  cigar- 
ette. "The  work  of  my  man — he 
will  do  it,  you  know !" 

Just  then  a  candle  on  the  altar 
went  out,  and  Rudy  looked  an- 
noyed. 

"Rudy,  oh,  Rudy!"  I  exclaimed, 
"why  did  you  leave  us  so  cruelly?" 

"Ah,"  he  said,  lighting  another 
cigarette,  "those  words  are  gratify- 
ing. If  the  fans  did  not  love  me 
I  would  die,  and  then — "  he 
paused  for  a  moment's  stern  reflec- 
tion, while  the  emotion  deepened  in 


his  eyes, —  "and  then  I  would  be 
dead." 

The  clear,  cool  logic  of  the  man 
amazed  me. 

"You  are  going  to  work  soon?"  I 
asked  him. 

"Work?"  said  Rudy,  his  face 
blanching  at  the  word.  Then  he 
went  on : 

"The  sheik — they  wouldn't  let 
me  play  the  sheik  as  I  wanted  to !  I 
wanted  to  play  the  sheik 
rough  —  gawd,  how  rough!" 
cried  our  Rudy,  inhaling  a 
violet,  "Oh,  how  rough  I 
would  have  made  the  sheik! 
I  would  have  made  him  throw 
the  heroine  around  so  hard  he 
broke  things  with  her.  I  would 
have  made  him  slay  his  ene- 
mies, then  stick  the  scissors 
into  them,  open  them  out  and 
twist  them  around!  I  would 
have—" 

Just  then  Rudy  rose  hur- 
riedly from  his  chaise  lounge, 
with  an  annoyed  air.  He  took 
something  up  and  tossed  it 
away. 

Rudy — our  Rudy — had  been 
sitting  on  a  crumpled  roseleaf ! 

How  these  things  annoy  the 
sensitive  soul  of  an  artist! 
How  about  Blood  and  Sand?  I 
asked,  to  take  his  mind  off  his 
troubles.  But  he  only  looked  more 
soulfully  sad. 

"Oh,  they  were  awful  about  that, 
too,"  he  whispered,  "I  wanted  to 
fight  the  bull— oh,  how  I  longed  to 
brave  him  in  the  arena!  But,  alas, 
they  wouldn't  let  me.  I'll  tell  you 
one  of  their  secrets."  Rudy  lowered 
his  voice  to  a  hiss.  "They  let  Bull 
Montana  hold  the  bull's  tail  while 
I  fought  him!" 

Rudy  sobbed.  Then  he  made  a 
manful  effort  at  controlling  his 
emotion. 

"You  have  heard  of  my  deep 
trouble  with  Lasky,  of  course?"  he 
asked,  lighting  another  cigarette. 
"Never  a  violet  in  my  dressing 
room !  And  not  even  a  chaise 
(Continued  on  page  101.) 

17 


w 


The  Pose  That  Won 


1 8 


IVhere  BEAUTY  %eigns 


"WELCOME  TO  HOLLY- 
WOOD" 
A  bevy  of  fair  Paramount  stars, 
met  Pola  Negri  at  the  station,  on 
her  arrival  in  the  film  capital.  Seat- 
ed, reading  due  east  to  west,  are 
Gloria  Swanson  and  the  peerless 
Pola,  Agnes  Ayres,  Bebe  Daniels, 
Nita '  Naldi,  supers,  spear-carriers, 
Merrie  Villagers,  etc.,  etc. 


ON  LOCATION 

The  cast  of  THE  IM- 
POSSIBLE MRS.  BEL- 
LEW,  starring  Gloria 
Swanson,  snapped  on 
location  at  Palm  Beach. 
Miss  Swanson,  seated 
fourth  from  the  end, 
reading  either  way, 
wears  some  gorgeous 
gowns  in  this  picture. 


r 


1  fromOSMXfWS)©® 


A  few  informal  glances  at  the  season's  smartest  cars, 
by  courtesy  of  filmdom's  motor  elect 


Miss  Gloria  Swanson's  new 
Lambert  Friction  Flyer  has 
all  of  the  novelty  and  daring 
for  which  Lambert  designs  are 
noted.  The  ultra  smart  type 
of  sport  car.  In  spite  of  its 
enormous  speed  capacity  of 
35  miles  per  hour,  this  18 
h.  p.  motor  can  be  operated 
by  any  member  of  the  family. 


The  new  Kissel 
semi  -  sport 
model  pictured 
here,  has  low, 
racy  lines, 
with  acces- 
sories hitherto 
found  only  on 
custom  -  built 
cars.  1 1  i  s 
equipped  with 
two  oil  lamps, 
horn  and  full 
tool  chest. 
Miss  B  e  b  e 
Daniels  is  the 
proud  owner. 


see 


Apperson  touring  is  Tom  Mix's  choice  in  cars.  This  new  special-built  body  lends 
a  welcome  touch  of  color  to  the  motor  highways  of  Southland,  being  Napier  green 
with  door  panel  and  wheels  in  sagebrush  green  striped  with  gold  and  a  number  of 
other  brilliant  colors,  including  maroon,  blue  and  burnt  orange.  The  Presto- Lite 

tank  is  a  new  and  interesting  feature. 


20 


Walter  fliers* 
racy  little  car 
is  unique,  even 
on  Hollywood 
Boulevard  or 
the  Avenue, 
where  power- 
ful and  expen- 
sive motors  are 
the  rule  rather 
than  the  ex- 
ception. It  has 
a  powerful,  2- 
cylinder  op- 
posed _  motor, 
18  h.  'p.,  with 
single  chain 
drive. 


m  woy,  w 

By   O .    U.  KIDDER 


w 


Miss  Gloria  Swan- 
son  in  her  smart 
motor  coat  of  white 
kid,  lined  with  pale 
blue  satin. 


V  VITH  ALL  the  fashionable  film  world 
motoring,  every  succeeding  season  shows  im- 
provements for  those  whose  land-journeys  are 
taken  by  motor-cars.  As  the  first  mission  of 
the  film  star  is  to  be  attractively  garbed  at  all 
times,  she  is  careful  to  select  a  becoming  as 
well  as  a  practical  motoring  outfit. 

M 

iss  Gloria  Swanson  is  one  actress  who 
is  always  delightfully  costumed  at  all  times. 
The  motor  coat  of  long  white  kid,  lined  with 
pale  blue  satin,  seems  a  bit  dainty  for  long 
tours,  but  the  facings  of  dark  leather  protect 
the  garments  from  stain  in  vulnerable  places. 

The  veils  that  cover  the  collapsible  helmets, 
worn  with  these  coats,  are  delicate  and  costly. 
Embroidered  lace  veils,  often  heavy  Brussels 
lace,  are  the  sine  qua  non  of  the  cinema  haut 
ton. 

IVHiss  Viola  Dana  has  a  penchant  for 
motor  wraps  of  heavy  Scotch  tweeds,  with 
pocket  inserts  for  the  Scotch,  and  dainty  and 
sweet  she  looks  in  them,  as  the  photograph 
will  show. 

The  Paquin  model  of  Skibo  serge  pictured 
above  was  worn  by  Miss  Pauline  Frederick  on 
her  most  recent  honeymoon,  a  trip  to  Niagara 
Falls.  The  long  graceful  lines,  though  a  trifle 
daring,  are  very  becoming  to  Miss  Frederick. 


Ma 


j_  ary  Miles  Mixter  is  a  picture  of  girlish 
sweetness  in  ber  smart  coat  of  glace  brown  kid, 
with  protecting  goggles. 


Viola  Dana  has  a 
penchant  for  motor 
cloaks  of  heavy 
Scotch  tweed,  with 
pocket  inserts  for 
the  Scotch. 


This  Paquin  model 
was  worn  by  Pauline 
Frederick  on  her 
most  recent  honey- 
moon trip  to  Ni- 
agara Falls.  The 
long  lines,  though  a 
trifle  daring,  are 
very  good  on  Miss 
Frederick. 


Mary  Miles  Minter 
is  the  picture  of  girl- 
ish sweetness  m  her 
wrap  of  glace  brown 
kid,  with  protecting 
goggles. 


21 


Joe  Roberts  has  a 
head  that  is  slightly 
too  ponderous  for 
his  slight  body.  He 
is  also  muscle-bound 
in  the  hips. 


Beauty  specialists 
have  found  ingenious 
methods  to  correct 
defects  in  almost 
every  figure,  but 
they  have  yet  to  in- 
vent a  toupee  that 
can  be  depended  up- 
on in  a  strong  wind. 
However,  in  spite  of 
the  fact  that  C.  B. 
DeMille's  crowning 
glory  is  one  with 
Ninevah  and  Tyre, 
his  discriminating 
taste  and  come- 
hither  twinkle  in  his 
eyes  make  him  one 
of  our  most  charm- 
ing directors. 

Plwto  by  Spore 


While  the 
stream  -line 
body  is  one  of 
Buster  Keat- 
on's  greatest 
^assets,  the 
Adam's  Apple 
is  a  trifle  too 
prominent. 


Own  Beauty  Pages 


Hollywood,  the  Home  of  Handsome  Men!  And  yet,  the 
artistic  eye  can  discern  flaws  in  the  seemingly  perfect  beauty 
of  our  male  charmers.  For  instance,  ninety-nine  out  of 
every  hundred  motion  picture  actors  are  abnormally  big- 
headed!    But  read  their  fascinating  analysis  for  yourself. 

Hollywood  is  not  without  its  beautiful  women, 
says  Director  Stanlaws,  in  answer  to  the  storm 
of  protest  that  greeted  his  article  in  the  Janu- 
ary SCREENLAND,  entitled  "What's  the  Mat- 
ter With  Our  Hollywood  Women?"  In  proof 
of  which  we  offer  the  following: 


4 


This  is  no  hold-up.  These 
beauties  assumed  poses  that 
were  similar  so  the  reader 
might  be  better  able  to  judge 
which  one  of  them  look  the 
most  alike. 


f 


This  beauty  is  not 
without  her  good 
"points."  She  was 
probably  the 
model  for  the 
leaning  tower  of 
Pisa.  If  she  ever 
straightens  up  she 
will  be  one  of  the 
tallest  stars  in  the 
movies,  if  she  ever 
becomes    a  star. 


f 


Motion  Picture 
Section 


Fearless 
Independent 


News  of  the  Theatres 


Edited  by  Herbert  S.  Marshutz 


Gossip  of  the  Studios 


Vol.  XX   No.  XX 


Matteawan,  N.  Y.,   Jan.  21,  1923. 


Price  5  Cents 


BEBE  GUNN  MAY 

NOW  BE  A  BRIDE 

REPORTED  MARRIED 
Petite  Brunette  Said  to  Have 

Eloped  With  Ex-Wealthy 
Ex-Senator  Dole. 
By  BARBARA  BARBER 

Hollywood's  film  circles  are 
agog,  according  to  confidential 
wires  to  the  SNOOZE,  ov.er 
the  alleged  marriage  of  the 
popular  Bebe  Gunn  to  former 
Senator  Orlando  Dole,  one  of 
California's  best  known  Octo- 
genarians. Miss  Gunn  herself 
is  a  Presbyterian. 

Ex-Senator  Gunn  is  a  great- 
grand  uncle  to  Bebe  Gunn, 
through  the  marriage  of  Sena- 
tor Dole's  sister,  Fanny  Dole, 
to  Kamma  Gunn,  a  nephew  of 
Bebe.  However,  both  families 
have  overlooked  this  minor  re- 
lationship and  are  reported 
considerably  elated  over  the 
new  union,  which  is  considered 
by  authorities  to  have  possi- 
bilities of  being  more  or  less 
permanent. 

Denies  Publicity  Stunt. 

Miss  Gunn  has  indignantly 
denied  that  her  nuptials  were 
a  press-agent  stunt. 

"That  would  make  mar- 
riage a  mockery,"  she  de- 
clared. "On  the  contrary,  I 
hold  matrimony  as  one  of  the 
most  interesting  episodes  in  a 
married  woman's  life." 

After  the  customary  federal 
investigation  ' '  Miss  ' '  Gunn 
having  a  husband  reported 
alive  in  India  and  another 
whom  she  believes  resides  in 
Jacksonville,  —  (Florida  or 
Mississippi),  the  new  couple 
will  make  their  home  in  the 
palatial  Beverly  Hills  resi- 
dence of  King  C.  Autostrop, 
the  razor  king,  whose  mansion 
is  reported  for  sale. 

SCREEN  REVIEWS 
Caustic  Comment  on  Current 
Photoplay  Contributions  by 

Unbiased  Commentators. 
By  THE  CRITIC 

Posa  Lott,  the  irrestible 
American  Beauty  was  seen  on 
the  screen  at  Howman 's  Im- 
perial last  night  in  the  first 
performance  of  a  week's  run 
with  what  we  have  always  felt 
was  the  impossible,  added 
charm  and  pulchritude. 

Her  vehicle,  Broken  Garters, 
offers  innumerable  opportuni- 
ties for  a  display  of  histrionic 
ability,  which,  needless  to  say, 
the  ever-lovable  Posa  takes 
advantage  of  in  the  part  of 
Varya  Vodka.  Wallace  Klieg, 
opposite  her  in  a  supporting 
role,  that  of  Prince  N'ataeha 


Kanzlipoff,  makes  the  best  of 
a  thankless  position. 

The  story  hinges  about  the 
intrigue  in  the  home  of  a 
member  of  the  Siberian  Order 
of  the  Garter.  Varya,  stolen 
from  the  steppes  in  her 
mother's  yard  when  but  a 
child,  is  reared  in  the  stuffy 
atmosphere  of  Kanzlipoff 's 
palace.  She  waxes  into  a 
beautiful  girl  and  Kanzlipoff, 
falling  in  love  with  her  purity 
and  pulchritude,  murders  his 
first  wife  Olga.  Varya  is  res- 
cued at  the  opportune  moment 
by — but  then,  that  would  be 
revealing  the  story. 

Ephraim  Kush,  Pres.  of  the 
Springfield  Trust  and  Savings 
Bank  (16  branches),  Mrs. 
Minnie  Kush,  with  the  Win- 
st'an-Postums  and  The  Geo. 
Washington  Crumms  as  their 
guests  occupied  a  box  at  the 
premier  performance  last 
night.  In  the  other  box  were 
Sid  Howman,  Mrs.  Sid  How- 
man,  Mrs.  D.  Howman,  A. 
Howman,  I.  Howman,  in  honor 
of  Master  Jonathan  How- 
man's  14th  birthday.  Other 
interesting  short  reels  com- 
pleted the  program,  while 
Donizetti  Fisherio  rendered  a 
selection  on  the  Whirlitzer.  A 
good  time  was  enjoyed  by  all. 
—Adv. 


Watson's  Nullified  Cocoanut 
Shampoo  is  used  by  screen 
stars  everywhere,  especially 
on  their  heads.— Adv. 


SCREEN  IDOL  SPEAKS 
TO  GOTHAM  AUDIENCE 

NEW  YORK,  Jan.  20  — 
"Bull"  Wyoming,  Hollywood 
screen  star,  today  spoke  be- 
fore 15,000  Italian  residents 
of  Greater  New  York.  His 
subject,  "The  Facisti  Move- 
ment Compared  With  the  Hula 
Hula  ' '  was  well  received. 


What  The  Reviewer  Said 

Broken  Garters  is  the  best 
display  of  bad  acting,  bad 
staging  and  bad  management 
that  I  have  seen  in  years. 
The  audience  roared  at  the 
box-office  to  get  its  money 
back,  but  without  success. 

Hill  and  Dale, 
In  the  "Daily  Outrage" 

How  The  Management  Quoted 
Him  In  Their  Advertising. 

Broken  Garters  is  the  best 
display..!  have  seen  in  years 
..the  audience  roared. .box- 
office  success.     Hill  &  Dale, 

Dailv  Outrage. 


SCREEN  ACTOR 

DISAPPEARS? 

CANNOT  BE  FOUND 

Detective  Unable  to  Locate 
Windsor  Castle,  Noted 
Tragedian. 

By  MARTHA  McGABBLE. 

Hollywood    Correspondent    of  the 
SNOOZE. 

HOLLYWOOD,  Cal.,  Jan.  20 
— Although  detectives  scoured 
the  hills  and  canyons  of  Holly- 
wood from  end  to  end  all  yes- 
terday and  last  night,  no  trace 
has  been  found  of  Windsor 
Castle,  noted  tragedian,  whose 
mysterious  disappearance 
twenty-four  hours  ago  has  baf- 
fled the  police  of  Los  Angeles, 
Hollywood  and  Culver  City. 

A  cryptic  note  left  by 
Castle  only  adds  mystery  to 
the  case.  The  note  read:  union 
suits,  2 — shirts,  4 — handker- 
chiefs, 5 — towels,  9. 

Mysterious  Message. 
At  10  o'clock  this  morning 
a  telephone  call  was  received 
at  Police  Headquarters  from 
a  party  representing  himself 
as  Windsor  Castle.  The 
speaker  maintained  that  he 
was  Castle  and  that  he  had 
not  disappeared  but  was  visit- 
ing his  wife  in  Los  Angeles. 
The  police,  however,  are  in- 
clined to  believe  the  message 
the  work  of  a  practical  joker, 
as  Castle  has  not  been  known 
to  visit  his  wife  since  the 
second  week  of  their  marriage. 

Captain  George  Homey,  chief 
of  the  Hollywood  Police  Divi- 
sion, and  Joe  Casey,  head  of 
the  Fire  Department,  went  in- 
to the  manhunt  with  increased 
vigor  today  working  on  a  clue 
offered  by  Fullah  Blarney, 
Castle 's  publicity  agent.  Castle 
made  Blarney  a  promise  some 
weeks  ago  that  if  he  ever  dis- 
appeared he  would  not  return 
for  at  least  a  week.  Captain 
Homey  considers  this  a  vital 
point. 

TELLS  HOW  FILM 

STAR  WAS  NAMED 

Busted  Eaton,  king  of  com- 
edians, tells  an  interesting 
story  of  where  he  received  his 
name,  which  he  has  had  some 
years. 

"The  name  Eaton  was  my 
father's  family  name,"  says 
Busted,  "and  so  it  came  to 
me.  The  name  Busted  was 
given  to  me  shortly  after 
birth  and  I  have  had  them 
both  since." 

Busted  Eaton  appears  next 
"week  at  the  Sympathy  Thea- 
tre in  his  newest  laugh-maker, 
' '  My  Wife 's  Foreign  dela- 
tions." 


Our  N.  Y.  Letter 

News  of  the  Day  In 
Eastern  Circles 


NEW  YORK,  Feb.  1— Con- 
siderable rain  fell  today 
throughout  the  metropolis.  As 
is  customary  in  this  weather, 
between  200  and  300  umbrellas 
were  left  in  picture  houses 
and  100  changed  hands. 

*  *  * 

Georgia  Rosalind  Gutt,  ush- 
erette at  the  Rivolette  Thea- 
tre, was  married  yesterday  in 
one  of  the  Churches  Around 
the  Corner  to  William  Edward 
Everett  Jones,  assistant  eleva- 
tor starter  in  the  Knicker- 
bocker Bldg.  The  bride's 
mother  was  present. 

*  #  "  # 
Although  definite  informa- 
tion from  Hollywood  is  'at 
hand  to  the  effect  that  Eric 
von  Munchausen  will  hereaf- 
ter direct  Godwyn  produc- 
tions, much  credence  is  given 
to  the  rumor  here  that  von 
Munchausen  will  write,  direct 
and  act  in  but  not  finance  his 
own  presentations  in  a  mil- 
lion-dollar studio  he  is  con- 
templating in  Yonkers-on-the- 
Hudson,  N.  Y. 

*  *  # 

Six  eases  of  Klieg  Eyes 
were  reported  yesterday  by 
the  United  Eastern  Studios. 
Federal  prohibition  agents  are 
investigating. 

Nola  Pegri  has  been  unable 
to  work  on  the  revised  story 
of  her  life,  due  to  the  illness 
of  her  publicity  director,  Hag- 
en  Hayg. 


A  picturesque  view  of  Charlie 
Chaplin's  palatial  Beverly  Hills 
mansion. 


24 


hj)  from  W  m  Qi  W' A® 


Principles  of  Pantomime 

or  How  to  Be  Beautiful  Though  Dumb 


No.  2 — Love  and  Hatred.  In  this  pic- 
ture the  student  will  note  that  two 
emotions  are  expressed  at  once.  This 
exercise  should  not  be  attempted  by 
beginners. 


No.  3 — Anger,  Regret  and  Infidelity. 
For  finished  performers  only.  Three 
contradictory  sentiments  with  a  single 
expression.  Here  illustrated  for  the 
first  time. 


No.  1 — Passion. 

For  the  young  girl  wishful  to  get  into  the  movies, 
more  important  even  than  Beauty  is  the  ability  to 
express  or  repress  emotions. 

Herewith  are  reproduced  for  the  benefit  of  the  stu- 
dent of  pantomime  the  three  expressions  of  Passion 
Hatred  and  Regret  (in  the  order  of  their  importance) 
required  to  fully  equip  one  for  a  career  in  the  films. 

QUESTIONS  AND  ANSWERS 


Q.  Where  have  Mary  Pickford's 
curls  gone? 

A.  The  rainy  season  in  Los  An- 
geles begins  usually  a  little  early, 
but  in  Patagonia  the  ornithorhyn- 
chus  leaps  from  crag  to  crag  heed- 
less of  everything. 

Q.  Who  wrote  "Foolish  Wives"? 
A.  Try    again.     The  question 
should  be  "Why?" 

*  *  * 

Q.  Who  writes  the  best  pictures? 
A.  Modesty  prevents  me  from  an- 
swering. 

*  *  * 

Q.  Is  the  motion  picture  industry 
still  in  its  infancy? 

A.  Goldwyn  wrote  both  the  lyrics 
and  the  music  to  the  well-known 
cradle-song,  "Buy  Loew;  Sell 
High." 

*  *  * 

Q.  Is  Charles  Chaplin  a  married 
man? 

A.  The  Sphynx  does  not  really 
smile ;  it's  the  sand  in  its  mouth 
that  makes  it  look  that  way. 

*  *  * 

Q.  Who  is  the  author  of  "The 
Three  Musketeers"? 


You  do  not  have  to  be  a  sub- 
scriber or  to  have  passed  the 
Army  Intelligence  Test  to  get 
questions  answered  in  this  col- 
umn. It  is  only  required  that  you 
avoid  questions,  answers  to 
which  cannot  be  found  in  the 
Encyclopedia  Britannica,  the 
White  House  Cook  Book  or  Whiz 
Bang.  Questions  which  the  An- 
swer Man  cannot  answer  with- 
out leaving  his  swivel  chair  will 
be  waste-basketed.  Address  your 
questions  to  Goofy  Gus,  the  An- 
swer Man. 


A.  No.  Alexander  Dumas  wrote 
"Robin  Hood."  It  was  Douglas 
Fairbanks  that  set  it  to  music.  "The 
Three  Musketeers"  was  written  by 
the  author  of  "Oliver  Twist."  We 
have  forgotten  his  name. 

*  *  * 

Q.  How  many  scenario  writers 
are  there  in  the  business? 

A.  The  last  census  showed  there 
were  98,567,322  men,  women  and 
children  in  the  United  States.  Every 
year  it  gets  worse. 


Billy — So  you  want  to  know 
about  Fanny  Ward.  Fanny  is  one 
of  the  most  promising  of  the  baby 


stars.    The  world  will  hear  more  of 
this  little  lady  one  of  these  days. 
Tess — No. 

C.  N.  0. — No,  you  must  have 
been  misinformed.  George  Beban 
didn't  win  any  popularity  contest  in 
Hollywood.  Perhaps  it  was  Pen- 
rhyn  Stanlaws  you  were  thinking  of. 

Estelle — Yes,  but  don't  say  I 
told  you  so. 

Bettikins — So  you  think  Ma- 
rion Davies  is  the  greatest  emotional 
actress  on  the  screen  today.  What 
makes  you  think  you  think? 

Pettikins— Yes,  Rodolph  Val- 
entino is  married.  Again. 

Esther — No,  Lila  Lee  is  not  en- 
gaged to  Charlie  Chaplin.  They  are 
just  very  good  friends. 

Rudie's  Admirer — Oh,  not  for 
several  months  yet. 

Naughty  Nellie — So  you  want 
to  become  a  great  actress.  There's 
more  money  in  the  movies. 

E.  F. — Yes,  Rodolph  Valentino 
is  married. 

Polly — No,  Claire  Windsor  is 
not  engaged  to  Charlie  Chaplin. 
They  are  just  very  good  friends. 

Anne — I  don't  think  so. 


r 


Production  Stuff  Snapped  on  the  Lot 


"When  you  say  that, 
smile!" 

Specially  posed  by  Clifford  Akmytagb 


Former  Emperor  Franz 
Josef's  private  carriage, 
brought  all  the  way 
from  Vienna  by  Eric 
Von  Stroheim,  for  use 
in  his  new  production, 
Merry-Go-Round. 


The  great  ball-room 
scene  in  Cecil  B.  De- 
Mille's  new  society 
drama,  ADAM'S 
WISHBONE. 


The  Four  Horsemen  of 
the  Apocalypse. 


2J 


Screenland  Sympathizes 

The  Month's  Victims  of  Cupid's 
Darts,  and  Wishes  Them  Long 
and  Happy  Married  Bliss. 


Taking  each  other  for  better 
and  for  worse,  until  death 
does  them  part,  Miss  Gloria 
Swanson  and  Mr.  Wallace 
Beery  were  joined  in  the 
holy  bonds  of  matrimony,  at 
a  quiet  wedding  at  the  home 
of  the  bride's  mother. 


Miss  Mary  Pickford,  a 
promising  young  screen 
actress,  and  Mr.  Owen 
Moore,  also  a  prominent 
member  of  Screenland's 
Smart  Set,  who  plighted 
their  troth  at  Hymen  s 
altar  recently.  The  bride 
was  a  vision  in  white 
bombazine,  while  the 
groom  wore  the  conven- 
tional black. 


Miss  Jean  Acker  became  the 
blushing  bride  of  Mr.  Ro- 
dolph  Valentino  at  a  quiet 
ceremony  at  Santa  Ana  re- 
cently. Mr.  Valentino  is  a 
new  member  of  the  film 
colony,  but  has  already  a 
host  of  friends,  both  here 
and  at  Pasadena. 


27 


Our  30 yooo-%uble  "Prize  Scenario 

"Broken  Panes 


B 


O .    J .  LILLY 


We  are  proud  to  present  to  our  readers  this  gripping  tale  of  the  great  clean  open  West  where  Men  are 
Men,  as  the  prize-winning  story  in  our  scenario  contest,  a  world-wide  search  for  original  screen- 
writing  talent,  conducted  in  conjunction  with  the  Tombstone  (Ariz.)  Gazette. 

Part  One 

OSE  McADOO,  a  blithe  lars,  took  the  milk  and  his  clothes 
country  girl  of  the  wild  and  to  the  McAdoo's  residence  he 
west,  lived  in  a  cabin  with  went. 

her  father.  Her  lover,  As  the  doorbell  rang,  old  Gerald 
George  Ramie,  rich  multi-million-  got  up  to  open  the  door.  Ramie  gave 
aire  and  ranch  owner,  was  furiously  him  the  milk,  and  that  very  minute 

a  new  idea  peeped  into  his  brain. 
"Mr.  Gerald,"  he  said,  "T  have 


fan  vync 

Mo, 
C 


in  love  with  her,  and  she  also  loved 
him,  but  her  father  hated  the  very 
sight  of  Ramie,  and  often  at- 
tempted to  kill  him,  but  Rose  re- 
strained his  madness. 

Rose,  very  clever  as  well  as  cun- 
ning, appointed  days  for  her  lover  to 
call  on  her,  when  her  father  would 
be  away.  Ramie,  on  the  contrary, 
was  very  careless  and  wariless. 
Rose's  father  often  caught  him  there 
and  put  him  out,  and  often  brutal- 
ized his  daughter. 

Ramie,  however,  thought  of  a 
scheme  that  if  it  would  work  all 
right  would  be  all  right.  This 
scheme  was  to  see  Rose  and  ask  her 
to  elope  with  him.  The  trouble  was 
to  got  to  Rose's  house. 


to  me,  Rose,  dear."    Rose,  not  rec- 
ognizing him,  set  up  a  cry. 
"Father!" 

"Be  calm,  my  dear,"  said  Ramie, 
"it  is  me." 

He  then  pulled  off  the  milkboy's 
clothes*  and  told  Rose  about  his 
eloping  scheme.  She  was  pleased. 
The  date  was  set  for  Friday. 


N, 


Another  Part 

ow  let  us  return  to  Ramie. 
Ramie,  in  the  meantime  was  still 
contemplating  over  the  same  matter 
j  ust  discussed. 

At  last  an  idea  came  to  him,  as  he 
saw  the  milkboy  passing.  He  ran  to 
the  boy,  gave  him  a  couple  of  dol- 


ls this  the  well-known  author  of 
BROKEN  PANES,  winner  of  the 
30,000   rubles   prize   contest?  We 
hardly  think  so. 

heard  your  ranch  is  being  seized  by 
ranch  thieves."  This  was  said  curtly 
to  keep  them  from  detecting  his 
voice.  Immediately  Gerald  arose, 
mounted  his  thin  steed  and  left  for 
the  ranch.  This  was  just  what  Ramie 
wanted  to  happen.  Ramie,  holding 
out  his  hands  to  Rose,  said,  "Come 


y     Parted  in  the  Middle 

W  hen  Gerald  neared  the  ranch, 
to  his  surprise  he  apprized  that  it 
was  in  the  same  fix  he  left  it  in.  His 
temper  rose  to  the  highest  extent. 
Gerald,  full  of  rage,  was  rash  in  get- 
ting back  home. 
Rose  met  him. 

"Father,  dear,  what  is  the  matter? 
you  are  so  full  of  rage." 

"That  milkboy  was  just  telling 
an  untruth." 

"Oh,  father,  he  didn't  say  of  a  fact 
he  knew  it;  he  only  said  he  heard 
it.    Fie  on  you!" 

Friday  was  coming  gradually. 

At  last  it  came,  and  the  minds  of 
Rose  and  Ramie  were  on  their  elope- 
ment. Rose,  very  cunning,  did  her 
work  nicely,  and  as  it  was  a  hot 
summer  day,  she  said  she  wanted  to 
sleep  on  the  screened  porch.  At 
(Continued  on  page  90.) 


♦Deleted  in 

South  Branch, 


Pennsylvania, 
Ind. 


Ohio  and 


F 


Helpful  Hints  for  Young  Scenarists 


IRST  sharpen  your  pencil. 
Always  wear  rubber-tired  or  tor- 
toise rimmed  glasses.  They  are  a 
symbol  of  your  profession.  Culti- 
vate the  thoughtful  habit  of  looking 
down  as  you  walk  You  may  not  be 
able  to  think  of  anything  but  you 
may  come  across  a  quarter. 

When  you  have  finished  your 
first  'script,  open  a  charge  account 
with  a  shoe-store  and  start  to  peddle 
your  product.  In  case  you  wrote 
your  scenario  for  some  particular 
star,  ring  him  up  and  make  an 

28 


appointment  for  10  a.  m.  the  fol-  day  in  athletic  training.  Particu- 
lowing  day  but  don't  go  until  2  in  larly  sprinting.  You'll  find  it  a  val- 
the  afternoon.   That  will  show  your   uable  accomplishment  around  the 


independence  and,  any  way,  he 
won't  see  you  till  8  in  the  evening, 
if  ever. 

Don't  be  sore  if  you  think  another 
manuscript  creator  is  trying  to  do 
what  you're  doing.    Get  acquainted 


first  of  the  month  when  the  rent 
falls  due.  If  you  can  do  a  hundred 
in  11  flat,  it  will  save  you  great  em- 
barrassment with  the  Landlord's 
Protective  Association. 

If,  after  three  years  of  such  in- 


with  him  and  room  together.  Misery  dustry,  the  Producers  are  still  un- 

likes  company.  Perhaps  he  may  talk  aware  of  your  greatness,  get  a  job 

in  his  sleep  and  you  can  get  the  idea  in  a  drug-store  and  go  to  work, 
and  beat  him  to  it.  To  aspiring  scenario  writers  that 

Spend  not  less  than  an  hour  per  (Continued  on  page  99.) 


dp 

o 


Cecil  B.  DeMille  is  per- 
haps the  best  known  of 
all  the  wielders  of  the 
directorial  megaphone. 
"Bigger  and  barer  pic- 
tures" is  De  Mille's 
motto  for  1923. 


POPULAR  ACTRESS  RETURNS 
Charming   Blanche   Sweet,   in   WHERE  IS 
WANDERING  BOY  TONIGHT? 


MY 


A  CRITICAL  MOMENT 
Saturday  night  session  of  the  Directors'  Poker  Club. 
The  gentleman  at  the  extreme  right  is  heavy  winner 
and  is  waiting  for  his  wife  to  call  up  as  arranged, 
so  that  he  can  quit  without  bloodshed. 


With  the 

Press  Agents 

Original  Publicity  Stunts 
Startle  Hollywood  and 
Newspaper  Circles. 


0 


kNE  OF  the  cleverest  public- 
ity stunts  that  ever  came 
out  of  a  studio  publicity 
office  was  "pulled"  this 
Week  by  Arch  Reeve,  cherubic  dean 
of  the  Lasky  publicity  staff.  Word 
was  given  out  that  a  magnificent 
$75,000  pearl  necklace,  almost  half 
paid  for,  had  been  stolen  from 
Gloria  Swanson.  The  story  created 
a  huge  sensation  and  landed  full  on 
the  front  page  of  the  Nashua  (la.) 
Post, 

Another  original  "gag"  was  per- 
petrated recently  by  Mike  Boylan, 
of  Universal.  The  resourceful  Mike 
dressed  up  Joe  Martin  to  look  like  a 
messenger  boy.  And  the  gateman 
didn't  recognize  him ! 

IProbably  the  most  daringly  orig- 
inal publicity  stunt,  however,  was 
engineered  by  Joe  Jackson,  of  the 
Goldwyn  press.  The  startling  news 
of  the  theft  from  Helen e  Chadwick 
of  a  jade  necklace,  dating  back  to 
the  Sing  Sing  dynasty,  was  permit- 
ted to  leak  out,  The  full  effect  of  the 
story  was  spoiled,  however,  by  a 
rival  star,  who  told  the  reporters 
that  she  had  seen  Helene  buy  the 
necklace  at  Woolworth's,  the  day 
before. 

Another  clever  "gag"  caused  in- 
tense excitement  in  the  studios 
recently.  Howard  Strickling,  the 
Metro  publicity  staff,  caused  a  sen- 
sation when  he  "planted"  in  the 
biggest  local  paper  the  story  of  the 
reported  theft  of  Viola  Dana's  dia- 
mond necklace.  If  a  hot  story  about 
the  Wednesday  meeting  of  the  First 
Baptist  Ladies'  Aid  Society  hadn't 
broken  just  before  press-time,  How- 
ard would  have  got  a  big  spread  on 
the  Woman's  Page,  right  next  to 
reading  matter. 


loses  59Pounds 

Famous  Film  Star  Looks 
and  Feels  Like  a  New 

Woman 


Amazing  Discovery 
Enables  Miss  Sylvia 
Sugar  to  Lose  19 
Pounds  the  Very 
First  Week,  and 
She  Is  Still  Shed- 
ding Poundage. 

"I  weighed  179 
pounds.  My  di- 
rector and  the  of- 
ficials of  the  studio 
pleaded  with  me 
to  diet,  but  I 
would  not  torture 
myself  with  pain- 
ful exercise  or  the 
discomfort  of  diet- 
ing. 

Then  my  con- 
tract expired. 

The  very  first 
week,  after  walk- 
ing from  studio  to 
studio  looking  for 
a  job,  I  lost  19 
pounds.  It  is  now 
five  weeks  since  I 


Miss  Sylvia  Sugar,  before  and  after  losing 
59    pounds    by    our  wonderful _  method. 
Note  the  remarkable  change  in  this  -popular 
screen  star. 


We  Are  Advertised 
By  Our  Loving 
Friends 

Loses  Weight  Quickly 

"Hurrah  for  your  method!  Last  June  I 
weighed  243  pounds.  After  less  than  a  year 
of  your  marvelous  training  I  now  weigh  a 
mere  244  pounds." — Waller  Hiers. 

"Be  like  me!  In  January,  1897,  I  was  the 
fattest  woman  in  Keokuk,  Illinois.  I  rolled, 
clogged,  bicycled  .  .  .  everything,  but  to 
no  avail.  Then  I  took  your  course  and  moved 
to  Hollywood.  Today  I  am  only  the  fattest 
woman  in  Hollywood,  Cal." — Sylvia  Ashton. 


Cbmpkte  Cost 

for  All  Only  I 


Plus  only 

99' 

Poslatfe 


started  your 
wonderful 
system  of  pe- 
destrianism, 

and  my  appetite  is  better 
than  it  has  been  since  I  left 
Kansas.    I  can  eat  raw  mule 
and  relish  it  .  ... .  .  when  I 

can  get  it. 


30 


$10  for  the  best  answer  to  "Which  Advertisement  in  This  Issue  of  Screenland  Appeals  to  You  Most— and  Why?" 


7  here  are  lots  of  stars  bigger  than  Baby  Peggy,  but  none  any  sweeter. 
If  that's  a  kiss  the  starlet  is  offering,  there'll  be  plenty  of  applicants. 

PHOTO    BY  ETA-NS 


SCREENLAND  GALLERY 


SCREENLAND  GALLERY 


^  ammna 


/.<>t;</>'  Madge  Bellamy  is  lending  her  decorative  presence  to  a  series 
of  screen  dramas  being  produced  by  Clarke  Thomas  at  the  I  nee  studio, 
after  scoring  a  personal  hit  in  Lorna  Doone. 


SCREENLAND  GALLERY.J 


Boudoir  Politics  in  the  Movies 


Second  article  in  the  series  "Spy  System  in  the  Movies"-an  exposj  of  the  intrigue  and  petty 
deceptions  that  are  eating  at  the  vitals  of  the  great  film  mdustry 


F 


B 


W.    R  .  BENSON 


 ICKING  out  what  is  wrong 

with  the  studios  is  the  favorite  in- 
door sport  of  Hollywood.  Every 
extra,  every  property  man,  every 
star,  every  director,  every  producer, 
waxes  eloquent  on  the  subject  at 
the  slightest  provocation. 

The  director  is  sure  that  of  all 
pernicious  nuisances,  the  star  system 
is  the  worst.  The  wardrobe  mistress 
believes  that  stinginess  is  the  curse 
that  is  blighting  fair  Hollywood. 
Every  wardrobe  mistress  believes  she 
could  beat  Cecil  deMille  at  his  own 
game  if  she  were  allowed  to  spend 
the  money  on  costumes  that  Cecil's 
designer  spends. 

The  star  believes  that  lack  of  foot- 
age is  one  vital  error  in  all  her  pic- 
tures, and  that  among  other  things 
stories  which  call  for  character 
make-up  and  hence  temporary  mus- 
siness  of  the  star's  beauty  are  the 
reason  why  motion  picture  fans  stay 
at  home  and  read  fan  magazines 
rather  than  go  to  the  pictures. 

But  all— extra,  star,  director,— 
agree  that  nepotism  is  one  of  the 
great  crying  evils  that  are  cramping 
the  style  of  motion  pictures  to  a 
really  lamentable  extent. 


F, 


Nepotism  in  the  Movies 


DOES  PULL  HELP  IN  THE 
STUDIOS? 

One  of  the  most  frequently 
employed  character  actresses  at 
a  big  studio  is  the  wife  of  the 
general  manager.  She  happens 
to  be  a  good  actress  .  .  .  but 
her  day  has  lasted  considerably 
longer  than  it  could  have  done 
if  she  were  only  the  wife  of  the 
chief  electrician. 

A  director  in  a  studio  noted  for 
its  rapid  manufacture  of  cheap 
pictures  is  brother  to  the  pro- 
ducer. He  has  never  turned  out 
a  good  picture.  Why  should  he? 
He  can't  possibly  lose  his  job? 

A  famous  star,  who  has  recent- 
ly lapsed  in  public  favor,  is  said 
to  have  exacted  love  tribute  from 
every  actress  who  played  op- 
posite from  him.  He  came  a 
cropper  in  the  person  of  an  ir- 
reproachable ex-school  teacher 
star.  He  liked  the  novelty  so 
well  that  he  kept  her  for  his  lead- 
ing woman  longer  than  any  of 
the  more  easily-conquered  beau- 
ties. 


.  OR  the  information  of  those 
who  may  think  nepotism  is  some 
hideous  crime  like  prevarication 
and  procrastination,  we  quote  the 
dictionary:  "Favoritism  shown  to 
nephews  and  other  relatives  ; 
patronage  bestowed  in  considera- 
tion of  family  relationship  and  not 
of  merit." 

Being  a  relative  of  a  producer,  or 
a  scenario  chief,  or  a  star,  is  the  best 
thing  two-thirds  of  the  studio  per- 
sonnel do,  according  to  those  in  the 
studios  who  are  not  relatives  or  who 
have  no  relatives  for  whom  they 
want  to  find  jobs. 

The  first  thing  a  new  scenario 
chief  does  is  to  take  his  pen  in  hand 
and  drop  his  little  college  sister  a 


telegram  telling  her  to  hasten  out 
to  Hollywood  as  a  reader  in  his  de- 
partment. A  star  signs  her  con- 
tract with  one  hand  and  reaches  for 
a  contract  for  her  mother  or  her 
father  in  character  parts  with  the 
other.  Or  she  manufactures  a  nice 
little  job  like  business  manager  or 
supervising  director  or  something 
else  for  Friend  Husband,  who  is 
thus  able  to  leave  his  clerkship  at 
the  delicatessen. 

Advantages  of  Being  a  Relative 

o 

ne  studio  in  Hollywood  has 
a  particularly  poor  writer,  who  is 
able  to  get  his  stories  into  cellu- 
loid, no  matter  how  utterly  asinine 
they  may  happen  to  be.  He  works 
two  or  three  hours  a  week  on  a 
story,  draws  down  several  thousand 
dollars  for  each  story  which  his 
secretary  more  than  half  writes,  and 
gets  screen  credit  in  letters  larger 
than  those  accorded  the  director. 


Why?  We  pause  breathlessly  and 
are  besieged  by  clamorous  replies. 
Yes,  Constance.  This  writer  is  a 
brother-in-law  of  the  big  boss. 

One  of  the  most  frequently  em- 
ployed character  actresses  at  a  big 
studio  is  the  wife  of  the  general 
manager.  She  happens  to  be  a  good 
actress,  but  her  day  has  continued 
longer  in  the  land  of  Heart's  Desire 
than  it  could  possibly  have  done  if 
she  had  been  related  only  to  the 
chief  electrician. 

One  of  the  producers  in  a  big 
studio,  noted  for  its  rapid  making 
of  very  cheap  pictures,  has  his 
brother  in  as  a  director,  and  said 
director  has  never  turned  out  a  big 
picture.  Why  should  he?  He  can't 
possibly  lose  his  job. 

Nepotism  is  an  all-pervasive  evil. 
It  spreads  from  department  to  de- 
partment, from  producer  down  to 
the  seven-dollar-a-day  crowd.  But  it 
is  such  a  natural  condition  that 
even  those  who  suffer  most  acutely 
cannot  complain  very  bitterly. 


A 


They  All  Do  It 


_  splendid  director,  who  has 
a  record  of  many  successes  without 
a  single  real  flivver,  was  passed  up 
when  the  plum  of  the  year  was 
being  handed  out.    A  relative  of 
the  producer's  wife  was  handed  the 
job,  because  the  producer's  wife 
wears    the    trousers    within  the 
sanctity— if  there  is  such  a  com- 
modity left— of  the  producer's  home. 
He  spoke  philosopically  of  it,  how- 
ever.   "I  can't  blame  the  boss- 
much.    I  had  planned  to  bring  my 
kid  brother  on  from  the  East  as  my 
assistant  director.  But  it  is  a  blow 
not  to  be  able  to  do  this  picture. 
I've  dreamed  and  prayed  for  it— 
and  now  lost  out  to  a  brother-in- 
law." 

"Pull"  is  the  magic  word  that  ad- 
mits one  to  the  studios  out  here.  No 
matter  what  a  writer's  qualifications, 
if  he  is  friendless  in  the  studios,  if 

35 


he  is  not  related  to  someone  already 
on  the  inside,  if  he  has  not  made 
some  social  connection  with  gome- 
one  who  is  already  on  the  payroll, 
he  is  likely  to  starve  to  death  if  he 
depends  on  the  studios  for  employ- 
ment. If  he  hangs  around  long 
enough,  spends  enough  money  en- 
tertaining the  studio  people  to 
whom  he  does  get  introduced,  if  he 
has  the  wherewithal  to  stick  it  out 
and  to  make  -a  splurge,  he  may  get 
a  job  when  a  shake-up  occurs. 

How  to  Ruin  a  Writer 

t§>HAKE-uPS  are  the  least  excit- 
ing occurrences  in  the  studios. 
Good  newspaper  men,  for  instance, 
believe  that  fame  and  fortune  lies 
in  waiting  for  them  in  the  publicity 
jobs.  By  dint  of  persistence,  good 
cheer  (in  liquid  potions),  and  the 
knack  of  catering  to  the  vanities,  a 
good  newspaper  writer  from  the 
East  gets  a  job'  at  three  times  his 
normal  salary.  He  believes  himself 
to  be  in  clover.  He  buys  a  car  and 
pays  a  big  installment  down.  He 
rents  a  stucco  bungalow  in  a  Span- 
ish court.  He  thinks  he  is  sitting 
pretty.  He  turns  out  some  good 
copy,  gets  into  the  local  papers  with 
much  regularity  because  of  his 
naive  slant  on  the  movies,  has  some 
handsome  cards  engraved,  sends 
telegrams,  letters  and  newspaper 
clippings  back  East  to  the  home 
folks,  and  wakes  up  two  months 
later  to  find  that  overnight  the  boss 
has  returned  from  Europe  with  in- 
digestion from  eating  snails,  has 
fired  the  whole  bunch  and  put  in 
his  New  York  cousins  and  their 
cousins  in  all  the  publicity  jobs. 
Thus  is  an  ever-fresh  viewpoint 
maintained  in  the  studios.  The 
newspaper  man  goes  to  another 
studio  on  the  strength  of  his  experi- 
ence with  the  first  one ;  works  three 
months  or  so,  gets  the  boot  in  one 
of  the  half  dozen  stereotyped  fash- 
ions, and'  journeys  on — and  on — 
and  on — spoiled  forever  for  a  forty- 
dollar-a-week  job  as-  a  beat  reporter, 
yet  infinitely  soured  on  studio  life. 

The  same  applies  to  all  phases  of 
the  game.  It  is  a  heartless,  crushing 
game,  in  which  fresh  material  is 
forever  being  ground  through  the 
hopper  and  turned  out  as  unidentifi- 
able hamburger  meat.  No  wonder 
the  studios  manage  to  turn  out  such 
similar  material.  The  formula  is  so 
often  the  same. 

36 


Eminent  authors  are  caught  with 
the  same  honey  in  the  same  trap. 
The  full  publicity  value  of  their 
names  is  squeezed  out  of  them,  and 
they  are  left  high  and  dry  in  most 
cases.  Only  one  eminent  author 
has  survived  the  system' — Rupert 
Hughes,  who  has  learned  to  do  what 
the  movies  want  him  to  do,  rather 
than  what  his  literary  conscience 
tells  him  to  do. 

The  story  they  tell  of  Maeterlinck 
is  typical.  Maurice  Maeterlinck  was 
a  name  to  conjure  with  a  few  years 
ago.  It  stood  for  everything  that  the 
Maeterlinck  symbol,  the  Bluebird, 
stands  for  —  happiness,  sweetness, 
wholesomeness,  foreign  charm  and 
mystery.  He  was  a  good  bet,  so 
Goldwyn  brought  him  over  here.  He 
came,  leonine,  masterful,  with  a  little 
eighteen  year  old  bride  clinging  to 
his  arm.  His  coming  was  heralded 
the  length  and  the  breadth  of  the 
land.  He  was  photographed  in  every 
conceivable  attitude  except  in  bed 
or  bathtub.  His  going  back  to 
France  was  another  matter.  No 
trumpets  sounded ;  no  pictures  show- 
ed him  kissing  an  ecstatic  hand  to 
the  receding  shores  of  America. 
Maeterlinck  departed,  figuratively 
speaking,  between  suns,  his  enthusi- 
asm flagging  like  the  tail  of  a  whip- 
ped dog.  Maeterlinck  had  failed  to 
make  good  in  the  movies  I  He  wrote, 
as  Goldwyn  is  reported  to  have  told 
in  Hollywood  to  his  sympathetic  col- 
leagues, a  story  all  about  a  bee,  and 
who  could  make  a  film  hero  out  of  a 
bee,  mourned  Goldwyn. 

Maeterlinck  and  Publicity 

JJ_j/iD  Goldwyn  expect  Maeterlinck 
to  write  a  good  motion  picture  plot? 
Not  in  a  million  years!  The  poor 
Frenchman  was  simply  a  pawn  in 
the  great  game  of  publicity,  a  figure 
against  which  the  Goldwyn  Lion 
could  be  photographed.  Goldwyn 
could  not  have  gotten  his  picture  or 
name  in  every  magazine  and  news- 
paper in  the  United  States,  without 
some  such  dodge.  Standing  up  be- 
side Maeterlinck,  shaking  hands 
with  Maeterlinck's  child  wife,  Gold- 
wyn became  news — news — news ! 

That  is  the  answer  to  the  eminent 
author's  furor.  It  was  expected  to 
die  a  natural  death  when  the  pub- 
licity value  was  gone.  These  eminent 
authors  were  too  temperamental  to 
be  handled  as  hack  scenario  writers. 
They  would  have  demanded  too 
much  co-operation,  would  bave  held 


the  producers  too  closely  to  the  story. 
And  so  they  were  brought  to  Holly- 
wood, made  a  great  fuss  over  in  print 
and  news  reels,  and  then  allowed  to 
slink,  away,  beaten,  in  the  dark. 

How  Cohen  Was  Used 

(O^ctavus  Roy  Cohen,  who  had  a 
tremendous  vogue  in  the  Saturday 
Evening  Post,  with  the  cleverest 
negro  comedies  ever  written,  was 
brought  out  with  fanfare  and  blare 
of  trumpets.  Whole  columns  of 
newspaper  publicity  were  reaped  by 
the  insatiable  studio  which  announc- 
ed his  connection.  Cohen  wrote  and 
wrote  until  he  must  have  been  sadly 
affected  by  writer's  cramp,  or 
typist's  rheumatism,  and  one  lone 
lorn  comedy  of  his  was  put  into 
celluloid.  Whether  or  not  it  was 
ever  released  no  one  can  seem  to  re- 
member. At  any  rate,  Cohen  went 
back  to  "Bummin'ham"  and  after 
a;  long  time  succeeded  in  getting 
back  into  the  Saturday  Evening 
Post.  His  contract  Avith  Goldwyn,  it 
is  said  authoritatively,  called  for  his 
exclusive  services,  but  he  was  to  be 
paid  for  only  those  stories  which 
were  available.  The  word  went  out 
in  Hollywood — never  in  print — that 
Cohen  could  not  write  screenable 
plots.  Those  who  have  read  his  Post 
stories  know  that  he  is  a  master 
plotter.  After  Cohen  had  gone  home 
a  big  packing  box  of  his  rejected 
manuscripts  was  boarded  up  and 
sent  on  to  him — worthless  to  him, 
of  course,  because  written  especially 
for  the  Screen. 

After  the  eminent  author's  scare 
was  over,  the  same  hack  writers  in 
the  same  jobs  continued  to  write 
the  same  shopworn  plots  in  the  same 
shopworn  manner. 

Love  Always  Potent 

A  nother  and  less  widely  pub- 
licized form  of  studio  politics  is 
delicately  summed  up  as  boudoir 
politics.  In  an  effort  to  clear  the  fair 
name  of  Hollywood,  much  has  been 
written  about  the  absurdity  of  a  girl's 
believing  that  she  has  to  sell  her  vir- 
tue for  a  job  in  the  movies.  The  ex- 
tra girl,  of  course,  would  be  absurd 
to  offer  herself  in  exchange  for  a 
seven-dollar- a-day  job  — in  most 
cases.  But  there  are  innumerable  in- 
stances, so  well  known  in  Hollywood 
that  they  are  not  even  mentioned 
any  longer,  where  a  star's  judicious 


placing  of  her  favors  has  won  her 
stardom,  or  kept  stardom  for  her  in 
face  of  advancing  age. 

For  every  story  that  gets  out,  such 
as  the  Corliss  Palmer  and  Eugene 
Brewster  love  tangle,  there  are  a 
hundred  which  are  kept  out  of  print 
because  they  don't  reach  the  courts. 
But  they  exist  just  the  same,  and 
serve  still  further  to  gum  up  the 
machinery  of  the  studios. 

One  famous  star,  who  has  recent- 
ly suffered  a  relapse  of  popularity, 
is  said  to  have  exacted  love  tribute 
from  every  woman  who  had  the  luck 
or  the  misfortune  to  play  opposite 
him  as  leading  lady.  He  came  one 
cropper  in  the  form  of  screenland's 
most  irreproachable  ex-s"chool- 
tebcher  star.  He  liked  the  novelty 
so  well  that  he  has  played  with  her 
more  often  than  with  any  of  the 
more  exotic  and  more  easily  con- 
quered beauties. 

One  famous  blonde  beauty  in  the 
East  owes  stardom  and  many,  many 
pages  of  inspired  and  otherwise 
publicity  to  the  fact  that  her  pro- 
ducer likes  the  color  of  her  eyes 
and  the  smile  of  her  lips — and  other 
charms.  As  an  offset  to  her  blonde 
loveliness — she  is  really  lovely  but 
will  never  set  the  world  on  fire  as 
an  actress — this  producer,  for  a 
While,  made  a  great  fuss  over  a 
brunette  beauty  as  a  star.  She  got 
quite  a  distance,  for  she  could  act  a 
little,  before  the  producer  decided 
that  his.  blonde  lady-love's  wrath 
was  too  much  for  him  and  that  he 
valued  her  smiles  above  those  of 
the  dark  fascinator. 

The  Free  Love  Director 

o  ne  very  famous  director  in 
Hollywood,  who  is  always  photo- 
graphed for  newspapers  and  maga- 
zines with  his  wife  and  children,  in 
the  most  appealing  domestic  sur- 
roundings, is  a  notorious  player  of 
boudoir  politics.  He  does  not  let 
his  interest  in  certain  players  com- 
pletely cloud  his  judgment,  how- 
ever, for  his  stars  are  not  as  a  rule 
among  his  boudoir  companions. 
But  'he  keeps  at  least  one  lovely 
player  on  his  permanent  payroll, 
giving  her  fat  parts  in  all  his  pic- 
tures, regardless  of  her  innate  fit- 
ness for  the  roles.  She  is  seen  as 
the  vamp,  the  society  sister,  the 
wife,  the  ingenue  foil  for  the  exotic 
star,  even  as  the  lead,  in  lavish  pic- 
ture after  lavish  picture. 

Of  this  actress  and  a  writer  who 

38 


is  said  to  hold  the  really-truly  first 
place  in  the  director's  affections, 
there  is  told  a  story  which  amuses, 
even  while  it  reveals  a  side  of  studio 
life  little  dreamed  of  outside  of 
Hollywood.  It  seems  that  the  charm- 
ing writer  is  jealous  of  the  actress, 
though  she  knows  that  she  cannot 
be  the  only  member  of  the  harem. 
Once  the  feud  between  the  two  be- 
came so  hot  that  the  writer  went 
on  the  warpath,  chasing  the  actress 
around  the  lot  with  a  pistol,  de- 
manding that  she  give  up  the  direc- 
tor or  her  life.  But  the  triangular 
affair  continues,  along  with  other 
pleasant  little  excursions  into  prim- 
rose bypaths  on  the  part  of  the  di- 
rector. The  point  is  that  the  direc- 
tor will  continue  to  give  his  lady- 
loves preference  to  the  possible  ex- 
clusion of  better  talent. 

The  Protege  in  Pictures 

v\J/ccasionally  a  producer  takes 
a  fancy  to  a  sta-"  for  purely  platonic 
reasons,  because  he  -thinks  she  is  a 
good  bet.  He  spends  a  fortune 
trying  to  boost  her  into  public 
favor,  for,  after  all,  it  is  the  public 
who  makes  the  star,  and  not 
the  producer.  But  just  as  Lasky's 
most  labored  and  expensive  efforts 
failed  to  make  a  star  of  Lila  Lee, 
because  she  was  not  ready  for  star- 
dom, so  does  often  the  friendship 
of  a  producer  fail  to  make  a  star  of 
a  relative  or  an  admired  friend. 

For  unfathomable  reasons,  pro- 
ducers, like  other  erring  human  be- 
ings, form  freak  friendships  for 
members  of  their  own  sex,  and  in 
order  to  demonstrate  their  undying 
palship  give  their  proteges  jobs  in 
the  movies.  The  tritest  saying  in 
Hollywood  is  that  you  must  have 
a  pull,  and  truer  words  were  never 
spoken.  On  the  other  hand,  the 
generous,  impulsive  type  of  pro- 
ducer, usually  one  who  has  risen 
from  the  cloak  and  suit  trade  to  his 
present  eminence  in  the  pictures, 
never  turns  down  a  friend.  Maybe 
it  is  the  chap  who  was  his  book- 
keeper in  the  good  old  "Mauruss 
and  Abe"  days ;  maybe  it  is  the 
stenographer  who  took  his  dictation 
when  he  could  afford  to  pay  only 
ten  a  week.  But  it  is  always  some- 
one who  is  about  as  well  fitted  for 
a  big  job — such  as  casting  director, 
or  director,  or  general  manager — as 
Krazy  Kat  is  for  the  kingship  of 
the  Zoo.  But  the"  misfit  stays  on, 
clogging  the  wheels  of  the  most 


complex  machinery  in  the  world, 
keeping  trained  executives  out, 
keeping  the  quality  of  pictures 
down  by  just  so  much. 

One  amusing  instance  of  this  sort 
of  studio  politics  is  to  be  seen  at  the 
same  studio  mentioned  above — the 
one  which  turns  out  very  rapidly 
a  vast  quantity  of  program  pictures 
which  create  not  a  ripple  in  the 
movie  world.  One  or  two  big  stars, 
whose  pictures  are  labeled  specials, 
serve  to  keep  the  studio  in  the  "Pic- 
tures of  the  Month"  columns  of  the 
magazines. 

The  Big  Chief  s  Friend 

T  he  big  chief  has  a  friend  who 
was  once  a  road  show  publicny  man. 
He  did  the  big  chief  a  favor  once, 
and  ingratiated  himself  forever. 
When  the  big  chief,  then  only  an 
embryonic  magnate,  entered  the 
production  field,  he  took  his  friend 
in  as  director.  But  as  he  began  to 
turn  out  five-reelers  instead  of  two- 
reel  westerns,  he  came  to  realize 
that  writing  spicy  news  about  musi- 
cal 'comedies  does  not  necessarily 
make  a  great  megaphone- wi elder. 
So  the  director  became  a  scenario- 
writer,  after  the  general  manager 
had  told  the  producer  he  was  going 
to  fire  said  director  if  he  had  to 
lose  his  own  job  to  do  it.  Then 
the  scenario  chief  swore  roundly 
that  he  would  not  keep  the  pro- 
ducer's friend  in  his  department, 
when  he  needed  real  writers  as  badly 
as  he  did.  He  took  matters  into  his 
own  hands  and  fired  the  producer's 
protege,  and  the  protege  took  the 
matter  up  with  the  producer,  who 
happened  to  be  in  Europe  or  New 
York  or  somewhere.  Eight-page 
letters  flew  thick  and  fast  and  finally 
the  protege  was  again  on  the  pay- 
roll as  supervising  director,  which 
is  a  harmless  enough  job.  His  real 
job,  of  course,  is  to  report  tomis  very 
good  friend,  the  producer,  on  all 
doings  of  the  studio. 

In  other  words,  he  is  the  pet  spy 
of  this  particular  producer.  The 
producer  officially  holds  a  residence 
in  Hollywood,  but  he  spends  most 
of  his  t?me  in  the  East  and  in 
Europe.  It  is  necessary,  in  his 
opinion,  to  have  a  dependable 
"kept"  spy  on  the  lot.  Part  of  this 
spy's  duty  is  to  see  every  picture 
before  it  is  released  and  report  on 
it  to  the  producer.  He  writes  at 
great  length  of  minor  faults,  tell- 
ing how  the  star  failed  to  let  her 


hair  get  all  mussed  up  in  the  fight 
scene;  how  she  plucked  her  eye- 
brows after  filming  of  the  picture 
had  'begun;  how  the  director  used 
four  men  in  the  card  scene  when 
he  could  have  gotten  along  with 
tw0 — or  could  have  had  one  man 
playing  solitaire. 

The  injustice  of  such  a  system  is 
that  the  good  things  that  might  be 
said  of  these  people  whom  the  spy 
maligns  are  never  said,  and  the  pro- 
ducer,- being  in  Europe,  gets  only 
a  distorted  view  of  things.  He  reads 
a  letter  from  this  tiny-souled  spy 
and  cables  to  his  general  manager 
to  fire  this  director  and  that  camera- 
man, and  this  wardrobe  mistress,  or 
that  publicity  writer.  Good  men  are 
released  every  day  at  that  big  plant, 
but  the  spy  lives  on  the  fat  of  the 
land,  probably  the  most  unpopular 
man  in  that  part  of  the  world.  But 
his  type  of  mind  is  such  that  the 
black  glances  of  his  associates  are 
the  breath  of  the  life  to  him,  for 
their  hatred  is  an  indirect  tribute 
to  his  power. 

A  Victim  of  the  "System" 

T 

he  article  in  the  January  issue 
of  Screenland  on  "The  Spy  Sys- 
tem in  the  Movies,"  has  brought 
forth  this  letter  from  George  Bias, 
of  149  Diamond  Street,  Brooklyn, 
New  York,  who  says : 

"Allow  me  to  congratulate  you 
on  your  story  of  the  'Spy  System' 
in  the  studios  at  Hollywood.  This 
same  system  has  been  used  at  One 
of  the  largest  studios  in  the  East, 
In  a  short  time  this  studio  was 
forced  to  close  its  doors  to  hundreds 
of  workmen  and  also  to  many  actors 
who  depended  on  this  studio  for 
work  as  atmosphere. 

"This  incident  occurred  while  I 
was  on  location  work  in  Connecti- 
cut. We  had  with  us  a  production 
manager  in  other  words  a  spy. 
This  man  had  worked  in  the  ship- 
yards during  the  war  and  had  no 
more  idea  of  motion  pictures  than 
a  stray  cat.    His  whole  idea  was 
petty  economy.   I  had  under  me 
seven  men,  riding  on  a  truck  filled 
with  big  lights.  When  night  came, 
the  director,  the  assistant  director 
and  the  production  manager  put  up 
at  the  best  hotel  and  told  us  there 
was  no  room  for  us,  but  sent  us  to 
the  cheapest  hotel.  There  they  tried 
to  make  us  sleep  three  and  four 
in  a  room,  but  the  men  refused, 


and  would  have  quit  on  the  job  if 
they  had  not  been  allowed  single 
rooms.  The  next  morning  we  had 
to  kick  about  the  breakfast,  which 
was  not  fit  for  human  beings  to  eat. 
They  finally  allowed  us  to  eat  at 
the  best  hotel,  after  the  director  had 
interceded. 

"We  were  sent  on  location  at 
four  p.  M.  and  were  ordered  to  have 
things  ready  to  shoot  at  seven.  At 
one  a.  M.,  since  we  had  had  nothing 
to  eat  since  breakfast,  we  asked  the 
production   manager  to   send  for 
sandwiches  and  coffee.  He  sent  for 
food,  getting  only  one  sandwich  and 
one  oup  of  poor  coffee  for  each  man. 
We  were  famished.  Wc  took  mat- 
ters into  our  own  hands,  shut  off  the 
motor  generator,  and  left  things  in 
total  darkness  while  we  went  to 
forage  for  food.  While  we  were  gone 
an  intoxicated  man  came  up  the 
road,  broke  two  Bell  and  Howell 
cameras   and   caused  considerable 
other  damage  and  excitement,  All 
this  happened  because  the  produc- 
tion manager,  hoping  to  make  a 


MP 

record  of  great  economy  and  thus 
please  his  employers,  refused  to  buy 
enough  food  for  bard-working  men. 

"In  a  few  days  we  were  through 
and  returned  to  New  York.  When 
the  producer  saw  the  rushes  of  the 
location  scenes,  he  decided  that  the 
choice  of  location  had  been  all- 
wrong  and  had  us  make  a  re-take 
on  Long  Island.  The  production 
manager  had  urged  the  choice  of 
location  for  purposes  of  economy. 
Thousands  of  dollars  were  spent  in 
the  re-take." 

Summing  up,  it  seems  that  there 
is  really  not  much  the  matter  with 
the  movies — except  spies  who  cramp 
the  style  of  the  really  clever  people 
who  know  their  business;  and  ex- 
cept for  favoritism  and  nepotism 
and  love  tangles.  Outside  of  these 
few  minor  ailments,  the  movies  are 
all  right. 


The  Star  signs 
her  contract  with 
one  hand  and 
reaches  for  a 
contract  for 
character  parts 
for  her  father, 
mother,  sister 
and  brother  with 
the  other. 


Monkeys 

IVh  i  c  h  f 


Is  motherhood  becoming  passe  in  Hollywood? 
Are  marmosets  in  their  pink-lined,  luxuriant 
bassinets  taking  the  place  of  babies  in  the  nurs- 
eries of  ftlmdonCs  homes?  This  startling  trend 
of  affairs  is  discussed  frankly  in  this  article. 


'ABIES  or  monkeys?  Whicli 


shall  it  be?  That  is  the  question 
that  is  agitating  our  beautiful  film 
matrons. 

A  number  of  the  most  prominent 
screen  stars  state  openly  that  they 
consider  motherhood  incompatible 
with  a  career.  Childless  homes 
abound  in  Hollywood.  No  little 
feet  patter  about  through  the  spa- 
cious grounds  of  many  a  broad 
estate  in  Beverly  Hills  and  the 
exclusive  "West  Adams  district. 

Why? 

Do  the  pert  little  marmosets  that 
nestle  in  Milady  Film  Star's  arms 
have  anything  to  do  with  this  con- 
dition? Plenty  of  pets  there  are  in 
Hollywood;  monkeys,  Pomeranians, 
Chows.  But  babies?  In  some  homes. 
In  others  where  you  might  well  ex- 
pect to  hear  baby  voices,  you.are  dis- 
appointed. 

A  pathetic  sight  in  many  stars' 
homes  is  the  infinite  care  given 
monkeys,  the  pet  that  has  replaced 
the  poodle  of  another  day  in  the 
life  of  childless  matrons.  Little 
Marmo  or  His  Lordship  Ringtail  is 
given  his  daily  bath  with  scented 
soap  and  is  fed  with  his  bit  of 
creamed  carrot,  from  a  silver  spoon 


in  the  hand  of  his  fa- 
mous mistress. 

Recently,  so  a  local 
jeweler  tells  me,  a  star, 
whose  name  he  refuses 
to  betray,  ordered  a 
charming  diamond 
collar  for  her  simian 
pet.  And  the  other  day  I  overheard 
a  heated  argument  between  a  lovely 
actress  and  her  colored  maid,  in 
which  the  latter  declared,  "Ah's 
downright  tired  o'  coddlin'  your 
durn  monkey,  so  Ah  quits."  Nowa- 
days, it  isn't  enough  that  an  attend- 
ant be  able  to  hook  milady  up  the 
back  and  artfully  apply  her  com- 
plexion— she  must  be  qualified  in 
the  care  of  monkeys. 

Ringtails  are  great  favorites  as 
they  are  the  most  tractable  of  mon- 
keys and  seldom  show  jealousy  ex- 
cept when  they  perceive  a  too  ardent 
love-scene  between  the  handsome 
leading-men  and  their  mistresses, 
whom  they  adore  with  the  famished 
hearts  of  orphans  suddenly  elevated 
to  the  glory  of  a  home. 

Irene  Castle  really  started  the 
monkey-fad — which  out  of  justice, 
I  must  add,  has  been  taken  up  not 
alone  by  actresses  but  by  society 
women  all  over  the  country — and 
has  had  no  less  than  seven  simian 
pets  for  whom,  I  am  told,  her  dear 
mother  makes  the  darlingest  little 
clothes,  silk  ones  for  Sundays, 
when  Irene  takes  His  Monkeyship 
out  to  give  the  Johns  a  treat,  and 
gingham  frocks  for  every-day  play 
in    his    own    nursery.     Like  the 


bobbed-hair  craze,  Irene  instigated 
a  fad  which  threatens  to  envelope 
the  entire  sisterhood,  and  doubtless 
Barbara  la  Marr's  playful  antics 
with  Joe  Martin  in  Trifling  Women 
will  further  spread  the  fad. 

^Corinne  Griffith's  "Mike,"  a 
simian  of  most  doubtful  character, 
has  become  almost  as  famous  as  his 
mistress  and  indeed  looks  with 
chagrin  upon  photographs  of  her  in 
which  his  fuzzy  little  head  does  not 
appear.  When  she  came  West 
Corinne  left  "Mike"  in  cold,  wintry 
New  York,  because  a  mean  old  con- 
ductor said  he  would  have  to  travel 
in  a  baggage-car  and  whoever  heard 
of  such  indignity  being  thrust  upon 
a  gentleman  of  his  antecedents? 

Now  I  claim  it  is  perfectly  all 
right  for  May  McAvoy  to  take 
"Ford"  with  her  everywhere  she 
goes,  for  "Ford"  is  a  darling  little 
white  poodle,  so  called  because  he 
has  a  short  wheelbase  and  runs  close 
to  the  ground ;  for  May  isn't  married 
and  is  only  a  kid  herself.  But  T 
really  think  Corinne  is  neglecting 
Roosevelt's  oft-repeated  command- 
ments about  the  duty  one  owes  one's 
country,  don't  you?  For  Corinne, 
you  see,  is  happily  married  to  Web- 
ster Campbell.  But  perhaps  Corinne, 
like  other  stars,  feels  that  children 
would  handicap  her  art. 

Gladys  Walton  found  that  her 
monkey's  chatter  interfered  with 
her  muse  or  something  and  gave  it 
away.    But  Edith  Roberts  has  a 


aO 


or  Babies 


By  Myrtle  Gebhart 


little  Marmoset  which  she  tucks 
into   her   voluminous    cuff  when 
going  teaing.  She  thinks  so  much 
of  her  pet  that  she  even  permits 
him  to  share  her  photographs — and 
there  are  very  few  stars  who  will 
grant   that   glory    even    to  their 
babies.  Of  course,  Edith  is  unmar- 
ried, but  just  must  express  her 
maternal  instinct  by  having  some 
cherub  about  the  house  to  pet,  and 
therefore  has  chosen  little  Marmo. 
Of  course  there  is  no  law  prohibit- 
ing Edith's  adopting  a  poor  little 
orphan  from  some  asylum  —  but 
there  is  this  difference  between  a 
monkey  and  a  child :  when  you  tire 
of  the  former  you  can  give  him  to 
the  local  zoo,  thereby  acquiring  a 
lot  of  extra  publicity.  But  I  don't 
know  of  any  zoo  that  takes  second- 
hand babies  as  gifts. 

Dogs  take  the  place  of  monkeys 
with  some  film  stars. 

Anita  Stewart  must  believe  that, 
children  and  art  do  not  mix,  as  no 
small,  happy  voices  gurgle  unintel- 
ligible cries  about  the  lovely  home 
in  which  she  lives  with  her  husband, 
Rudolph  Cameron.  "King  Casey," 
a  big  bulldog  with  a  face  that  would 
never  make  him  a  star,  is,  however, 
decidedly  among  those  present  and 
accompanies  Anita  almost  every- 
where she  goes. 

And  though  the  Charles  Rays 
are  exceedingly  fond  of  "Whiskers," 
his  wire-haired  fox  terrier,  no  baby 
voices  echo  among  the  stately  tiled 
corridors  of  their  palatial  Beverly 
Hills  home.  Betty  Blythe,  though 
married  to  Paul  Scardon,  has  been 
heard  to  state  her  belief  that  a 
career  and  babies  would  not  mix, 
but  plans  to  retire  some  day  when- 
well,  we'll  wait  and  see. 

Among  the  famed  dogs  of  film- 
dom — not  those  who  perform  for 
the  camera  but  upon  whom  is 
lavished  the  love  of  the  ladies  of 
the  silversheet — may  be  mentioned 
Shirley  Mason's  "Pete,"  a  Boston 
terrier,  and  "Prince,"  a  big  police 
dog.  Yes,  Shirley  is  married  .  .  . 


V 


I  have  noticed  —  and 
this  presages  well  for 
the  future — that  few  of 
the  younger  cinemese 
bother  with  lapdogs  or 
monkeys.  Though 
Patsy   Ruth  Miller, 
Mildred  Davis,  Gloria 
Hope  and  others  have 
canines,  they  keep  the 
purps  in  their  place — 
out  in  the  yard.  And 
mostly,  as  in  the  in- 
stance of  Patsy  Ruth's 
"Rags,"  the  dog  is  really  the  pet  of 
a  small  brother.     Helen  Jerome 
Eddy  has  a  canine  with  a  face,  as 
Carter  de  Haven  feelingly  describes 
it,  "like  a  wilted  chrysanthemum"  ; 
but,  though  he  sometimes  accom- 
panies Helen  for  a  drive  in  her  big 
car,  he  isn't  allowed  any  liberties, 
and  when  he  injects- the  tiniest  bark 
into  the   conversation  is  quickly 
squelched  with  a  good,  hard  slap. 

So  those  of  us  who  wear  roseate 
spectacles  may  endure  in  patience 
the  present  influx  of  dogs  and  mon- 
keys into  babies'  cribs  and  look  to 
the  future  when  the  young  girls 
now  growing  up  with  the  screen 
shall  become 
present  almost 
junct  to  glory; 
monkey. 

Not  all  of  our  cinemese  accept 
these  substitutes  for  the  little  cling- 
ing arms  of  babies,  however.  Con- 
sider the  Vidors,  for  instance.  Little 
four-year-old  Suzanne,  a  tiny  bit  of 
blonde  lovableness,  is  constantly  in 
her  mother's  thoughts  and,  if  that 
unhappy  time  should  ever  come 
when  Suzanne  should  be  ill  or 
otherwise  need  her,  I  can't  picture 
the  maternal  Florence  hesitating  a 
moment  between  the  call  of  fame 
and  her  baby. 

"I  find,"  she  once  told  me,  "that 
marriage  and  career  mix  beauty- 
fully.  At  least  they  have  for  me— 
partly  due  to  the  fact  that  the  inter- 
ests of  both  Mr.  Vidor  and  myself 
are  in  the  motion  pictures.  We  work 


stars  minus  the 
indispensable  ad- 
a  pet  Pom  or  a 


harmony  and  have  found 
that  double  harness  makes 
for  the  best  results.  Home 
and  children  add  to  a 
woman's  vision,  give  her 
an  added  insight  into  char- 
acter, make  her  much  more  capable 
of  feeling  and  thus  inevitably  en- 
large whatever  gifts  she  may  pos- 
sess as  an  actress.  But  if  the  two  ever 
should  clash,  I  should  give  up  my 
career,  for,  after  all,  our  babies  have 
the  first  call  on  us." 

O  ne  of  the  nicest  sights  of  Holly- 
wood .is  Florence  Vidor  sitting  in  a 
great-winged  wicker  chair  upon  the 
sloping  green  of  her  lawn,  reading 
to  baby  Suzanne.  Their  home  is  a 
sprawling  English  manor  of  brown, 
set  amid  a  grove  of  giant  eucalypti 
and  backed  against  the  rugged 
grandeur  of  the  hills.  And  there 
Florence  sits  of  an  afternoon  when 
she  escapes  early  from  the  studio — 
which,  somehow,  she  usually  makes 
a  point  of  doing — and,  weaves  the 
magic  of  fairy  tales  for  small 
Suzanne.  And  when  some  other 
member  of  the  glittering  congrega- 
tion breezes  by  in  her  limousine 
with  her  Simian  pet  by  her  side, 
Florence  only  smiles. 

Incidentally  I  believe  that 
motherhood  has  been  the  making 
of  Miss  Vidor.  She  has  now  that 
facial  mobility  which  gives  a  tense- 
ly human  aspect  to  her  silversheet 
characterizations. 

Dorothy  Phillips  is  another  ac- 
tress with  whom  home  has  a  prior 
claim.  She  and  her  husband,  Allen 
Holubar,  and  their  little  girl  who 
is  about  ten,  live  in  a  substantial, 
but  by  no  means  showy,  home  at 

41 


isj)  from  i2@MS^S®S32) 


some 


the  entrance  to  Laurel  Canyon. 
Dorothy's  daughter,  who  looks  re- 
markably like  her  mother,  is  a 
quaint,  darling  child,  imbued  with 
much  of  her  mother's  practical, 
orderly  manner;  and  when  I  hap- 
pen over  to  their  house  on  a  Sun- 
day morning,  makes  a  great  fuss 
about  cleaning  up  the  papers  which 
Daddy,  man-fashion,  strews  all  over 
everywhere.  When  you  see  Dorothy 
Phillips  and  her  small  likeness  out 
driving  in  her  complacent  Cadillac 
coupe,  each  quietly  garbed  and  re- 
tiring as  to  disposition,  it  is  difficult 
to  recognize  the  tempestuous  actress 
of  such  blood-curdling  sea  melo- 
dramas as  "Hurricane's  Gal." 

Jane  Novak  is  too  much  con- 
cerned with  ministering  to  her  four- 
3^ear-old  daughter,  who,  by  the  way, 
is  appearing  with  her  in  a  picture, 
to  bother  with  a  dog  or  monkey  pet. 

Likewise  Claire  Windsor,  whose 
son,  Bill,  reigns  supreme  in  her 
Wilshire.  bungalow  without  having 
to  give  'way  to  the  demands  o: 
pedigreed  Pom   or    Simian  fr 
Africa.    Enid  Bennett  (Niblo) 
very  proud  of  her  baby  daughter 
Mary  Pickford  and  Douglas  F; 
banks   have  no   children,   a  i 
which  I  happen  to  know  brings 
Mary's  life  its  only  sad- 
ness. She  would  eager- 
ly welcome  a  child  and 
when  this  maternal  in- 
stinct that  is  such  a  prom- 
inent characteristic  of 
hers  eats  at  her  heart  in 
a  longing  impossible  to 
repress,   she   takes  an 
afternoon  off  and  drives 
out  to  the  orphanage 
near  Los  Angeles  which 
she  practically  supports 
and    plays    with  the 
homeless  kiddies.  I 
shouldn't  be  at  all  sur- 
prised if  some  day,  des- 
pairing of  her  dreams 
being  answered,  Mary 
would  adopt  a  youngster 
6r  two.    And  you  don't 
see   any   dogs  driving 
around  town  in  the  Pick- 
ford  limousine,  either. 

A  P  o  m  e  r  a  n  i  a  n 
couldn't  quite  still  the. 
ache  in  Gloria  Swan- 
son's  heart  during  her 
recent  marriage  when 
love  waxed  cold,  so  there 
came  baby  Gloria,  upon 


lavishes  her  affection  in  strict  seclu- 
sion, seldom  appearing  in  public 
with  her  baby  or  permitting  her  to 
be  photographed  for  publicity  pur- 
poses. "My  baby's  life  is  her  own," 
Gloria  declares,  "and  I  shan't  force 
her  into  the  glamor  of  fame — when 
she  is  old  enough  to  choose  for  her- 
self she  may  do  so." 

Among  the  men,  consider  Milton 
Sills  and  Jack  Holt,  whom  you 
could  never  picture  acting  as  valets 
lo  their  own  or  their  wives'  poodles 
or  monkeys.  Mr.  Sills  is  rearing  his 
two  little  Sills  to  be  fond  of  their 
home — by  giving  them  the  example 
of  staying  in  it  when  not  working, 
instead,  of  chasing  bubbles  of  pleas- 
ure. Jack  Holt  lives  in  a  rambling 
English  house  of  cream  color  with  a 
brick  wall  picoted  with  red,  set  in 


whom,  however.  Gloria 


Ruth    Clifford    lavishes   her    affection  on 
dwarfed  specimen  of  the  squirrel  monkey. 


buying  the  place,  his  first  requisite 
was  plenty  of  back  yard  for  a  sand- 
pile  for  his  three  kiddies. 

Wallie  Reid  and  his  charming 
wife  were  not  satisfied  with  just  one 
youngster  in  the  house — young  Bill 
who  is  "five  goin'  on  six" — but  al- 
lowed their  hearts  to  be  captured  by 
a  blonde  miss  of  some  four  years  to 
the  extent  of  adopting  her  as  a  play- 
fellow for  Bill.  Their  action  proved 
that,  though  they  may  be  working 
on  the  opposite  theory  followed  by^ 
so  many  stars,  their  hearts  are  in  the 
right  place. 

w 

V  V  ith  some,  of  course,  marriage 
doesn't  "take,"  but  that  does  not 
hamper  their  love  of  children.  Tom 
Mix  stands  as  an  example  of  this, 
with  a  twelve-year-old  child  of  his 
first  marriage  who  lives  with  him 
and  the  present  Mrs.  Mix  and  their 
brand-new  baby  daughter. 

Often,  too,  baby  hands  will  link 
estranged  parents  across  a  wide  gulf 
of  disagreement,  as  it  is  prophesied 
the  new  Hart  will  effect  a  reconcilia- 
tion between  big  Bill  and  the 
delicate  Winifred. 

Buster  and  Natalie  Talmadge 
Keaton  are  among  the  latest  stars 
to  present  the  waiting  world  with 
offspring.  Bobby  Vernon  and  Vera 
Steadman,  both  hap- 
pily married,  bear 
witness  to  the  fact  in 
cherubic  facsimilies  of 
themselves.  Will  Rogers 
boasts  a  whole  string  of 
little  Rogerettes  who 
make  merry  about  the 
big  corral,  which  is  a 
part  of  his  Beverly  Hills 
estate;  and  Baby  Ruth 
Margaret  is  Conrad 
Nagel's  most  prized  pos- 
session. Carter  deHaven 
and  his  small  wife  have 
three  little  half-portions 
as  irresistible  and  joy- 
ful as  themselves;  and 
an  equal  number  call 
Bryant  Washburn 
"papa;"  while  Bill 
Desmond's  very  own 
youngster  begs  nickels 
from  his  daddy. 

But  Raoul  Walsh  and 
Miriam  Cooper  have  no 
progeny,  nor  have  the 
Douglas  MacLeans. 
Helene  C  h  a  d  w  i  c  k — 
who  is  married  to  an 


"If  my  career 
should  ever  clash 
with  the  care  of  my 
baby,  Suzanne,  I 
should  give  up  the  career 
without  a  qualm,"  says 
Florence  Vidor. 


r*»ssraei 


a 
a 

a 

assistant  director,  or  was 
recently,    though    hus-  % 
bands  circulate  out  here  so  ^ 
that  you  can't  always  be  ^ 
sure  — '  Priscilla   Dean  and 
Wheeler  Oakman,  the  Tommy 
Meighans,   Wanda   and  Burt 
Hawley,  Doris  May  (Mrs.  Wallace 
MacDonald),  or  Mae  Murray,  who 
answers  also  to  "Mrs.  Robert  Leon- 
ard" but  not  to  "Mother." 

"What  will  they  have- when  their 
dav  in  the  spotlight  is  done?"  asks   first  place  in  the  affections 
Dorothy  Phillips.  "I  do  not  mean   g^w^^  mother 
to  criticize  any  one.  But,  speaking 
in  general  terms,  I  cannot  see  how 
any  married  woman  can  find  real 
happiness  without  children.  When 
I  retire,  the  hollow  mockery  of  a 
fame  ended  could  not  compensate 
me  for.  a  childless  home.  I've 
learned  to  pass  up  the  tinsel,  to 
•  search  for  realities,  for  rock-bound 
essentials,   for   only  by  building 
upon  a  firm  foundation  can  any 
woman  be  sure  of  happiness.  That's 
why,"  her  eyes  blazing,  "I  wouldn't 
give  up  my  little  girl  for  all  the 
star-contracts  in  the  world." 

Intensely  ambitious,  coldly  calcu 


Q)  fro-.  m©mifWDxs© 

tating  the  childless  women,   with  little 'Marcno  peeping  cunning- 
who  could  enjoy  motherhood   ly  through  the  polished  window,  or 
but  will  not.  are  like  climb-   .-kidding  along  in  their  low-necked 
ing  arbutus  in  their  tenacious  speedsters  with  a  fluffy  Pom  or  a 
clinging    to    their    upward   ferocious  bulldog-guardian  occupy- 
spiral    sacrificing  so   much   ing  the  seat  beside  them, 
that  is  human  and  natural      And  so  the  question  is  raised  in 
and  lovable  upon  the  shrine   many  Hollywood  homes  and  finds 
of   the   great   god   Success,   various  answers.    Some  stars  vote 
who  grants  their  whims  for   for  babies— and  others  for  dogs  or 
a  little  while  but  laughs  eter-   monkeys.  Some  claim  that  children 
nally  up  his  sleeve,  knowing  but  broaden  the  expression  of  their 
full  well  that  he  is  only  a  talents,   while   others   assert  that 
P-od  of  paste  "kiddies  and  career  do  not  mix." 

*  You  can  see  them  of  a  What  do  you  think?  Is  your  ad- 
late  afternoon  motoring  miration  for  your  favorite  star  les- 
down  the  Boulevard  in   sened  because  she  prefers  babies  to 
their  exquisitely  ap-   dogs?  Or  would  you  prefer  to  think 

of  her  as  a  beautiful,  irresistible 
woman  whose  only  care  lies  in 
keeping  herself  beautiful  and  ir- 
resistible? 

After  all,  it  is  inevitably  you, 
Mr.  and  Mrs.  Audiences  and 
all    your   little  Audiences, 
who  must  answer  the  ques- 
tion    that    is  agitating 
Hollywood:  babies  or 
monkeys? 

Irene  Castle,  who  is  said 
to  have  started  the  mon- 
key craze  among  film 
stars,  has  had  no  less  than 
seven  pet  monkeys,  be- 
side these  three  dogs- 
Irene's  mother  makes  just 
the  dearest  little  clothes 
for  the  monkeys  .  .  .  silk 
ones  for  Sunday  and  ging- 
ham ones  for  every  day. 


limousines, 


No  monkey  or  pedigreed 
Pom  ousts  little  Billy  from 


fi  Pitts  drab  personality  and  little  buttermilk 
eyes  first  landed  her  in  pictures.  But  her  happiness 
over  her  husband,  Tom  Gallery,  and  her  new  Httle 
daughter  is  endangering  her  type,  for  ZaSu  is  actually 
becoming  pretty  One  case  where  beauty  is  a  result 
of  happiness,  not  a  cause. 


Th 


e 


Problem 

of 
Unlovely 

Wo 


man 


B 


y 


GRACE  KINGSLEY 


Lack  of  Beauty  Can 
Be  Overcome  by  Hard 
W ork  and  Happiness 
Proving  That  Where 
There's  a  Will 
There's  a  Way. 


IS  THERE  any  real  happiness 
in  this  life  for  the  woman 
without  beauty? 

There  you  have  the  question 
that  has  agitated  feminine  hearts 
since  Eve's  day  .  .  .  and  will,  until 
the  last  trump  summons  the  world 
to  a  happily  sexless  sphere,  where 
the  length  of  a  feminine  nose  or  a 
'Cupid's  bow  mouth  will  no  longer 
shape  the  destiny  of  man  or  of 
nations. 

There  are  few  enough  who  have 
real  beauty  and  many  who  are  beau- 
tiful who  have  the  ability  to  put 
their  beauty  over.  Beauty  and 
brains  can  get  most  anywhere  but 

44 


they  do  not  always  go  hand  in  hand. 

Eve,  of  course,  had  a  simpler 
problem  than  any  of  us  gals  today. 
She  had  no  rivals.  In  this  year 
anno  Domini  1923,  in  a  crowded 
field  on  a  fast  track,  the  question  of 
physical  beauty  is  vital,  imperative. 


Bebe  Daniels  Should  W 


orry 


eauty  of  feature  really  means 
little,"  said  Bebe  Daniels,'  when  I 
put  to  her  the  question  of  happiness 
being  possible  for  the  unlovely.  "It 
is  as  easy  for  a  girl  who  is  not  pretty 
to  look  pretty  as  it  is  for  a  real 
beauty  to  cloak  her  charms  by  an 


unpleasant  expression.  The  expres- 
sion has  more  to  do  with  it  than 
features,  in  my  opinion." 

"Blah!"  I  remarked  politely. 
"And  also  pooh!  and  a  couple  of 
piffles!  It's  easy  for  you  to  say 
that,  with  a  face  that  would  have 
made  Mark  Antony  break  his  date 
with  Cleo.  But  it  takes  more  than 
a  pleasant  expression  these  days  to 
make  a  man  sign  on  the  dotted  line, 
either  on  a  contract  or  the  pretty 
gold-sealed  certificate  that  the  min- 
ister hands  out  after  the  perjury.  - 

So  I  went  to  Barbara  La  Marr. 

"Suppose  a  girl  isn't  pretty  .  . 
what  then?" 


''Then  she  must  be  smart," 
"But  suppose   she  has  neither 

beauty  nor  brains?" 

"Then  she's  gotta  be  good!  But 

she  can  have  clothes!" 

Where  Clothes  Help 

(Clothes!  Ah,  Yes!  Many  a  femi- 
nine heartbreaker  owes  the  scalps 
at  her  belt  to  the  chic  gown,  the 
hats  with  kindly-sheltering  brims, 
the  dainty  little  fripperies.  In  the 
heart-stakes  race,  the  animated 
clothes  horse  invariably  noses  in 
ahead  of  the  serious  girl-who-would 
make-some-man-a-good-wife. 

"Happiness  is  a  queer  thing", 
mused  Mary  Pickford,  when  I  put 
the  burning  question  to  her.  "You 
chase  it  and  it  eludes  you.  You  go 
after  something  else, — duty,  per- 
haps—and happiness  comes  quiet- 
ly, unsought. 

."Admiral  Sims  has  a  saying 
'Cheer  up  and  get  busy'.  I'd  put 
it  the  other  way  round:  'Get  busy 

"  and  cheer  up'.  Work  and  accom- 
plishment are  the  only  things  that 

.  bring  happiness,  Beauty  is  so 
much  a  matter  of  opinion  and  of 
good  clothes  that  I  don't  think  the 


lovely  woman  is  much  happier  than 
anyone  else."  ' 

Well,  of  course,  if  work  means 
being  happy,  the  plain  woman  is 
sitting  pretty.  She  can  work.  She 
usually  has  to. 

I  wanted  the  opinion  of  a  man  on 
the  question  of  beauty  and  happi- 
ness in  women,  so  I  went  to  the  man 
who  knows. 

"What  is  the  most  fascinating 
thing  in  women?"  1  asked  Charlie 
Chaplin.    "Beauty  or  brains?" 

"Neither"  said  Charlie  the  con- 
noisseur. "It's  something  more  elu- 
sive .  .  .  something  ...  In  men, 
I  know  I  don't  mind  a  handsome 
rival.  And  I  don't  particularly 
mind  a  rival  with  brains.  The  rival 
I  fear  is  the  man  who  'has  a  way 
with  him.'  It's  the  same  with 
women." 


I 


Charlie  Chaplin  Knows 


suppose  Charlie  meant  person- 
ality—what Elinor  Glyn  calls  "It." 

"There  are  so  many  different 
sorts  of  brains"  said  Nazimova,  "and 
so  many  different  sorts  of  beauty. 
But  also  there  are  so  many  different 


sorts  of  goodness.  Did  you  over 
think  of  that?  There  is  generosity, 
which  may  go  with  bad  morals. 
And  there  are  good  morals  that  go 
with  bad  temper.  Happiness  de- 
pends on  so  many  things  and  few 
Of  us  ever  find  it." 

Lacked  ljeauty.  Wins  Success 

But  what  of  those  stars  who,  lack- 
ing beauty,  have  won  success  and 
presumably  happiness,  either 
through  sheer  personality  and 
brains,  or  through  actually  turn- 
ing to  account  their  physical  short- 
.  comings? 

Louise  Fazenda,  the  day  she  went 
over  to  the  Mack  Sennett  studio 
looking  for  a  job,  came  home  and 
looked  into  her  mirror. 

"My  heavens!"  she  said  to  her- 
self, "what  chance  is  there  for 
me?" 

Then  she  took  another  squint, 
Even  as  she  looked,  the  mirror  faded 
away.  She  saw  the  image  of  the 
child  she  used  to  be — -a  comic  child 
with  tight  braids,  and  a  habit  of 
falling  over  everything  that  came 
her  way.    And  she  thought: 


whether  or  not 
Helen  Jerome 
Eddy  is  a  beauty.  Char-  ^ 
lie  Chaplin's  assertion  that  ' 
beauty  is  a  matter  of  opinion  and 
good  clothes  seems  to  be  borne  out 
by  these  two  photographs  of  Miss  Eddy. 


45 


"Well,  all  right !  That'll  be  fine ! 
I  guess  I'm  funny,  that's  all.  Well, 
Mack  Sennett  Comedies  must  need 
comediennes  as  well  as  bathing 
girls!   Here  goes!" 

The  result  is  well  known. 

Not  a  Classic  Beauty 

I^AZIMOVA  is  far  from  beautiful 
if  one  means  a  classic  nose,  chiseled 
lips  and  all  that.  And  nobody  is 
more  scornful  than  Nazimova  her- 
self if  you  say  she  is  beautiful.  Yet 
who  could beunbeautiful  with  those 
sapphire  blue  eyes  of  Nazimova's? 
Those  eyes  sparkle  with  intelligence, 
humor,  sympathy.  When  you  talk 
with  her,  you  are  likely  to  see 
nothing  about  her  but  their  lure. 
Her  live  mind,  her  fascinating  per- 
sonality, make  you  forget  she  is  not 
beautiful. 


So  beauty  isn't  all.  Many  a  beau- 
tiful girl  comes  to  Hollywood  with 
the  thought  that  her  beauty  will 
put  her  over  and  that  the  directors 
will  fall  over  each  other  to  secure 
her  services. 

It  is  extremely  difficult  to  make 
many  of  them  see  just  where  brains 
and  hard  work  count  and  that  they 
play  really  a  greater  part  than 
beauty.  But  they  usually  come  to 
after  they  have  spent  many  weary 
hours  flashing  their  beauty  and 
cooling  their  heels  in  the  outer  re- 
ception room  waiting  for  the  direc- 
tor to  find  time  to  see  them.  Then 
they  spend  more  weeks'  and  weeks 
trying  to  locate  as  an  extra  with 
about  as  disastrous  resulR 


The  Truth  Dawns 


Curls  Cover  Large  Ears 

M  art  Pickford,  whose  curls  set 
a  world-wide  vogue  for  several  years, 
wore  those  curls  to  cover  the  defect 
of  large  ears !  I  saw  an  old  picture 
of  Mary's  the  other  day,  in  which 
she  hadn't  beauty,  personality,  nor 
even  curls!  Yet  I  think  nobody 
was  ever  lovelier  on  the  screen  than 
Mary  was  as  the  rich  little  girl  in 
"Stella  Maris!"  She  has  learned 
lighting,  make-up,  since  those  old 
days,  but  she  has  learned  something 
m0re — acting  and  how  to  put  per- 
sonality over. 

And  yet  at  that  it  isn't  the  rich 
little  girl  you  remember  in  "Stella 
Maris,"  except  by  an  effort  of  mem- 
ory. It  is  the  poor  little  homely 
slavey,  with  the  beautiful  soul, 
played  by  Mary,  that  you  remem- 
ber. Though  you  will  also  remem- 
ber that  it  wasn't  the  homely  little 
slavey  who  got  the  close-up  clench 
in  the  fade-outs,  either. 

Despite  herself,  ZaSu  Pitts  is  be- 
coming very  pretty!    It  was  her 
drab  personality,  her  sad  little  but- 
termilk eyes,  that  landed  her  first 
in  pictures,  playing  the  slavey  in 
"The  Little  Princess"  with  Mary 
Pickford.    Afterward  she  was  act- 
ually awarded  a  starring  contract 
on  her  deficiences !    But  back  of  it 
all  was  a  beautiful  soul,  a  brilliant 
mind,  real  acting  ability.    ZaSu  is 
happily  married  now  to  Tom  Gal- 
lery, and  is  the  mother  of  a  beauti- 
ful baby.  When  I  saw  her  the  other 
day,  I  decided  that  happiness  "was  a 
beautlfier. 
46 


Ji  he  truth  eventually  dawns 
upon  them  with  a  crash  when  they 
begin  to  realize  how  overcrowded 
the  profession  really  is  and  that, 
even  with  their  beauty  that  set  Main 
Street  wild,  it  is  necessary  to  possess 
a  considerable  amount  of  talent. 

For  the  most  clever  and  the  best 
appearing  stars  do  not  jump  right 
into  the  big  head  lines  and  it  takes  a 
year  or  two  to  get  a  start. 

Most  of  the  new  beauties  who 
rush  in  are  not  in  a  position  finan- 
cially to  rush  back  home  and  they 
either  file  their  names  with  the  un- 
dertaker to  go  back  east  as  compan- 
ion with  his  first  shipment  or  wire 
to  dear  old  dad  to  mortgage  the  cow 
and  send  her  return  money. 

No  one  can  tell  off  hand  just  who 
will  and  who  will  not  make  a  suc- 
cess in  screen  work.  Many  actresses 
who  were  not  even  classed  as  pretty 
have  come  up  through  the  ranks  and 
are  today  headliners  at  the  studios. 
Others  who  seemed  to  have  every- 
thing in  their  favor  and  who  were 
selected  by  directors  as  being  good 
possibilities,  have  fallen  sadly  and 
quickly  into  oblivion,  forgotten  by 
everyone  except  the  angel  who  at- 
tempted to  put  them  over. 


identification  for  the  fans  who  idol- 
ize them. 

Can  you  imagine  Bull  Montana 
as  handsome?  Not  by  any -stretch 
of  the  imagination.  And  Dick 
Southerland's  features  do  not  carry 
over  to  the  fans  marks  of  great  re- 
finement. 

Erich  Von  Stroheim  has  made  a 
success  and  he  never  got  to  be  a 
star  because  he  was  handsome. 

It  is  true  that  Buster  Keaton  and 
Ben  Turpin  would  either  attract  at- 
tention on  the  street,  but  the  re- 
marks you  would  hear  concerning 
their  looks  would  not  lead  you  for  a 
minute  to  think  of  them  as  being 
handsome. 

Of  course,  there  are  men  in  the 
movies  who  are  handsome,  but  like 
the  women  of  the  screen,  it  has  not 
been  entirely  their  appearance 
which  put  them  over. 

They,  too,  must  have  talent,  be 
willing-  to  work  long  hours  and  wait 
until  their  popularity  comes  to  the 
surface. 


Few  Handsome  Men 

w  ith  the  men  it  is  quite  dif- 
ferent. 

Few  of  them  would  carry  off  any 
prizes  at  a  beauty  show,  unless,  per- 
haps, they  should  be  awarded  the 
consolation  prize. 

Their  deficiencies  seem  to  be  in 
their  favor  and  to  serve  as  marks  of 


.       Not  All  Types  Adaptable 

A.  girl  with  brains,  talent  and 
beauty  combined  will  not  always 
make  a  success  on  the  screen  and 
some  of  the  beautiful  women  who 
have  gone  big  on  the  speaking  stage 
have  been  dismal  failures  when  it 
came  to  their  appearance  on  the 
screen. 

There  are  certain  types  which  can 
not  be  put  across  on  the  screen  and 
all  the  ability  of  the  director,  the 
cleverness  with  which  the  lights  are 
used  and  the  willingness  of  the  sub- 
ject will  not  make  them  a  success 
unless  they  are  naturally  adaptable 
to  screen  work. 

Happiness  Promotes  Beauty 

§^0  happiness  brings  beauty  as 
well  as  beauty,  happiness. 

Helen  Eddy  is  the  subject  of 
many  disputes  regarding  her  looks. 
Some  people  think  she  is  beautiful. 
Others  that  she  is  very  plain.  _  At 
any  rate  she  is  not  ugly.  She  is  a 
type.  And  it  was  that  fact,  and 
because  she  had  brains  and  ability 
that  she  got  her  start  with  George 
Beban  as  the  Italian  woman  of  many 
of  his  pictures.  '  , 

There  -are  scores  of  girls  working 
in  department  stores,  in  beauty 
shops,  as  stenographers,  who  are  far 
lovelier,  by  virtue  of  their  features, 
than  most  of  our  screen  .beauties. 
Yet  through  brains,  ability,  oppor- 


tunity,  these  screen  stars  have  be- 
come famous. 

I  do  not  believe  anybody  would 
turn  around  in  the  street  to  look  at 
Pola  Negri.  Yet  who  is  there  will 
deny  she  is  beautiful?  But  it  is  the 
beauty  of  piquancy,  of  quick  men- 
tality, of  temperament,  which  has 
won  her  fame  as  a  beauty.  She  has 
probably  the  most  expressive  face 
on  the  screen. 


So,  you  see,  my  goodness  was  really 
all  vanity." 

It  Worked  for  Lois  Lee 

Ji  uat  it  worked  for  Miss  Lee  is 
evidenced  by  the  fact  that  she  won  a 
beauty  contest  that  brought  her  to 
California.    And  yet— can  even  tb 


Beauty  Can  Be  Cultivated 

interesting  instance  is  that 
of  Lois  Lee,  who  recently  played  a 
role  in  "The  Prisoner  of  Zenda," 

Lois  as  a  little  girl  was  considered 
homely.  But  she  wanted — Oh,  how 
she  did  want  to  be  beautiful !  She 
had  two  humpy  spots  in  her  spine, 
her  hair  was  straight,  her  face  too 
long,  her  nose  too  large,  her  mouth 
nothing  to  brag  of.  Her  -eyes  were 
large,  but  she  says  they  were  quite 
expressionless. 

"Then  I  heard  somewhere  that 
if  you  hold  beautiful  thoughts  all 
the  time,  you  will  grow  to  look  that 
wav,"  said  Lois.  "I  began  reading 
beautiful  verse  and  thinking  kindly 
of  people.  I  wouldn't  let  my  temper 
fly  for  fear  it  would  spoil  my  looks. 


Many  a  .so- 
called  beauty 
owes  her  charm 
to  her  clothes. 
In  t  h  e  heart- 
stakes  race,  the 
animated 
clothes  -  horse 
invariably 
noses  in  ahead 
of  the  girl  - 
who-  would- 
make  -  some  - 
man-a-good- 


Mary  Pickford  had 
neither    beauty,  per- 
sonality nor  c  u  r  Is  a 
dozen  years  ago.  She 
acquired  the  lovely  curls 
to  cover  the  defect  of 
large  ears.    "The  lovely 
woman  is  no  happier  than  the 
plain  woman,"  says  Mary. 
"Work  and  accomplishment  are 
the  only  things  that  bring  happi- 


most  beautiful  thoughts  straighten 
a  retrousse  nose  or  a  multi-fold  chin? 
Or  does  any  amount  of  gray  matter 
make  up  for  the  intoxicating  power 
felt  by  the  woman  who  knows  she  is 
beautiful? 

As  Rube  Goldberg  said:  "Beauty 
is  only  skin  deep— but,  then,  what 
are  you,  a  cannibal?" 
'  '    <  - .      •■  ,47 


Colleen  Moore  was 
almost  kept  out  of 
pictures  by  an  amus- 
ing oddity — she  has 
one  blue  eye  and 
one  brown  eye.  Just 
like  a  bull  pup. 


^HE  IMPERFEC- 
TIONS of  stars  are 
not  usually  bla- 
zoned forth.  It 
seems  to  be  the  gen- 


eral idea  that  the  public  wants 
to  believe  that  motion  picture 
players  are  physically,  mentally 
and  morally  perfect;  at  least, 
that  is  the  theory  the  gentle 
press  agent  works  upon. 

But  when  two  or  three  praise- 
slingers  are  gathered  together,  after 
.  five  o'clock  has  struck  and  alle- 
giance is  temporarily  suspended, 
with  the  old  pipes  drawing  well, 
strange  and  weird  tales  mingle  1 
with  the  smoke.    Not  all  the  "hon- 
estly-now"  stuff  is  of  the  poison-pen 
variety;  much  of  it  gives  you  a  new 
respect  for  the  people  who  are  labor- 
ing under  difficulties  which  the  pub- 
lic never  guesses  at,  and  for  which  it 
makes  no  allowances. 

ITJ)  ummies  and  stunt  artists  relieve 
the  high  salaried  stars  of  all  possible 
hazardous  risks,  but  they  can  not  take 
them  all.  Actors  seem  more  self-con- 
scious of  their  imperfections  than  the 
average  person  and  thus  the  public  is 
48 


B 


u  m  p  1  n 

t  o 


By  ANNE 

Are    we    down-hearted?     No !      say   movie    stars    who  have 
successfully  overcome  tremendous  physical  handicaps. 


cheated  out  of  many  extremely  interesting  bit  of 
news,  for  fear  it  might  hurt  an  actor's  popularity. 
But  the  public  is  composed  of  human  beings,  sym- 
pathetic in  the  main,  and  warm-hearted.  Fans  would 
much  rather  know  when  an  actor  has  been  injured, 
and  glory  in  the  spunk  which  has  made  him  over- 
come this  immense  handicap,  than  to  be  told  that  he 
wears  lavender  silk  pajamas  and  that  he  smokes  mon- 
ogrammed  cigarettes — which  he  doesn't. 

nd  why  shouldn't  the  millions  who  saw  "The 

Prisoner  of  Zenda"  know 
that  the  stunningly  beau- 
tiful brunette,  Lois  Lee, 
Xf^l^i,    who  played  the  part 

International  Photo    W|     iS^^i        p     r\         .  tt  i 

™    u      01   Countess  Helga, 
*      was  in  a  plaster  cast 
for  many  weeks  after  that  picture  was  finished? 
Lois  was  told  that  she  had  a  tubercular  spot  on  her 
spine,  and  that  an  operation  would  be  necessary.  A 
piece  of  shin  bone  was  removed  and  appliqued  upon 
the  spine,  and  all  Lois  had  to  do  to  overcome  her 
little  handicap  was  to  lie  on  her  face  without  mov- 
ing an  inch  for  many,  many  weeks.   And  right  in 
the'  midst  of  this  little  private  Hades  of  hers,  the 
doctors  discovered  that  she  would  have  to  have 
an  operation  on  an  old  appendicitis  wound. 
And  she  did ! 

Probably  eveiyone  knows  what  a  chance 
Elliott  Dexter  took  with  his  popularity 
when  he  had  to  stay  out  of  pictures  two 
years,  because  of  illness  brought  on  by 
overwork.    But  did -he  let  Fate  jinx 
him?    He  did  not!    He  hobbled 
back  to  work  and  is  again  sitting 
on  the  world.    He  has  a  particu- 
lar penchant  in  pictures  for 
loving  Gloria  Swanson  in 
vain.   Masculine  fandom 
will  admit  that  he  had 
something  to  live 
for,  when  they 
look  at  the  pic- 
ture  on   t  h  i  s 
page. 

And  just  when  Mabel  Normand 
was  getting  all  fat  and  well-fed-look- 


Irene  Castle  is 
being  kept  out 
of  pictures  by  a 
broken  collar- 
bone.  Irene 
turned  the  mis- 
fortune of  short 
haii?,  Inecessi- 
tated  by  an  at- 
t  a  c  k  of  fever, 
into  a  fashion. 


hJ)  (vomBaoiLJsrwj^jj© 


the  Bumps  (■ 


Stardom 


AUSTIN 

ing  after  her  tilt  with  incipient 
tuberculosis  and  nervous  break- 
downs and  such,  her  best,  friend, 
William  Desmond  Taylor,  was  mur- 
dered. Grief  and  shock  sent  Mabel 
pretty  far  back  along  the  road  to 
death  again,  but  she  is  "coming 
back"  once  more,  since  her  Euro 
pean  vacation.  It  has  always 
seemed  that  Mabel  Normand 
simply  could  not  get  fat 
enough;  she  is  one  of  the 
very  few  people  in  Holly- 
wood who  don't  "reduce". 
"Bessie  Love  is  another;  poor 
little  Bessie  is  not  thick 
enough  to  cast  a  shadow. 


interesting  case,  not 
quite  in  the  motion  picture  pro- 


Almost  everyone  knows 
that  Elliott  Dexter  was 
out  of  pictures  for  two 
years,  because  of  paraly- 
sis. He  refused  to  be 
downed,  however,  and 
hobbled  back  to  work, 
where  he  has  a  penchant 
for  loving  Gloria  Swanson 
— on  the  screen — in  vain. 


fession  but  closelv  allied,  is  that  of 


Harold  Lloyd  is  one  actor 
who  they  claim  does  not 
use  stunt  artists,  and  in  his 
new  film  "Safety  Last,"  he 
takes  the  chances  himself. 


^\\\ 


Elioto  by  (JiiNE  KonN man 


Just  when  Mabel  Normand 
was  getting  nice  and  fat  after 
a  successful  tilt  with  incipient 
tuberculosis,  the  death  of  her 
best  friend,  William  Desmond 
Taylor,  sent  her  far  back 
along  the  road  to  death  again, 
through  grief  and  shock.  But 
she  is  "coming  back." 


dancer  in  the  United  States— a 
far  cry  from  complete  paralysis. 


Ted  Shawn,  husband  and 
partner  of  Ruth  St.  Denis, 
famous  dancer.   Ted  looks 
'like  a  pleasantly  plump 
young  god  now,  but  he 
wasn't  always  thus.  He 
had  no  idea  of  being  a 
dancer  when  he  was  in 
training  for  the  ministry 
in  Denver,  Colorado,  but 
when  he  became  paralyzed 
after  an  illness  and  had 
time  ,to  think  it  over  and 
decide  he  was  not  really 
cut  out  for  the  profession 
of  soul-saving,  he  was  in- 
duced to  take  a  few  phys- 
ical culture  exercises  for 
the  sake  of  his  dead  limbs. 
As  he  regained  the  use  of 
his  legs,  a  dancing  teacher 
persuaded  him  to  take  up 
dancing — for  health  rea- 
sons only.    Today  Ted  is 
perhaps    the    best  male 


1  om  Mix  M  inus  Elbow 


_nd  who,  seeing  Tom  Mix  work- 
ing in  a  picture,  would  believe  that 
once  his  good  right  arm  was  use- 
less, because  the  elbow  had  been 
shot  out?  Fact!  Tom  got  into  a 
pistol  scrap  in  Texas  in  1914  and 
got  his  right  elbow  shot  out.  His 
arm  healed  but  was  practically  use- 
less, for  a  large  part  of  the  bone  was 
gone;  in  fact,  there  was  no  joint  left 
at  the  elbow  at  all. 

The  doctors  decided  that  Tom 
would  never  have  any  use  of  that 
arm,  but  Tom  couldn't  see  it  that 
way.  After  letting  it  dangle  for  a 
while,  he  determined  to  fix  it  up 
himself.  He  stretched  his  arm  out 
as  straight  as  possible  and  with  the 
palm  extended  upward  put  a  pan 
with  a  very  little  water  on  the  open 
hand.  He  found  he  could  lift  it 
only  a  tiny  bit  before  the  pain 
beckme  unendurable.  But  he  per- 
sisted, his  theory  being  that  the 
muscles  on  the  flat  side,  or  the 

49 


A, 


inside,  of  the  arm,  could  be  devel- 
oped so  as  to  take  care  of  the  work 
of  the  missing  elbow  joint.  As  soon 
as  he  oould  bear  the  pain  of  lifting 
a  small  amount  of  water  in  the  pan. 
he  increased  the  amount.  Gradu- 
ally he  was  able  to  lift  more  and 
more,  until,  after  two  years  of 
steady,  unremitting  practice,  he  was 
able  to  lift  a  great  weight.  The 
muscles  had  developed  as  he  antici- 
pated and  today  he  has  a  great  knot 
of  muscles  bulging  out  on  his  arm 
where  formerly  there  was  a 
flat  surface.  If  Tom  had  not 
overcome  this  great  handicap, 
he  would  never  have  been 
heard  of  in  pictures. 

Bernhardt's  Courage 

|§)  araii  Bernhardt 
has  overcome  greater 
physical  handicaps 
than  any  other  living 
actress.  In  simply 
overcoming  great  age 
— she  is  now  nearly 


eighty — she  was  considered  a  real 
heroine,  but  when  she  persisted  in 
staying  on  the  stage  after  her  leg 
had  been  amputated,  the  Avorld 
unanimously  gave  her  the  platinum 
medal  for  real  courage.  She  took  the 


Speaking  of  minor 
handicaps,  Gloria 
Swanson  h  a  d  to 
overcome  two  dif- 
ficulties before 
she  attained  her 
place  in  the  sun. 


role  of  a  French  soldier  boy,  who 
had  lost  a  leg  in  the  war.  She  has 
refused,  however,  to  walk  with  an 
artificial  limb,  although  she  wears 
one.  Even  her  personal  maid  has 
never  seen  her  take  a  step.  She 
cannot  bear  to  look  awkward. 


A, 


Exercise  Made  Her 


.nnette  Kellerman's  name 
always  comes  up  when  instances  of 
this  sort  are  mentioned.  For  An- 
nette was  a  cripple  as  a  child,  and 
only  regained  her  health  after  her 
father  had  taught  her  to  swim.  Her 
twisted  leg  and  back  straightened 
out  undor  the  magic  of  exercise, 
and  she  became  England's  cham- 
pion swimmer.  She  is  one  of  the 
few  who  have  almost  swum  the 
English  channel. 

Lila  Lee  Apfel  steps  forth  to  say 
that  she  is  a  real  heroine,  too,  for, 
queries  Lila,  who  could  be  braver 
than  the  girl  who  starves  herself  for 
the  sake  of  her  "art"?  Do  you 
remember  how  plump — not  to  say 
fat^Lila  was  in  "Male  and  Fe- 
male"? If  Lila  let  herself  go,  she 
would  be  as  big  as  Mama  Apfel,  who 
is  ample  filling  for  a  coupe.  But 
Lila  wants  a  screen  career,  and  only 
the  slender  have  a  chance  at  stellar 
glory.  So  Lila  diets  unremittingly, 
and  manages  to  retain  the  slim 
grace  you  admire  on  the  screen. 
Lila  would  give  a  week's  pay  to  be 
allowed  to  eat  one  big  square  meal 
— without  worrying. 

'"jfiiERE  is  a  brand-new  heroine  at 
Universal,  an  emotional  actress,  who 
has  overcome  one  of  the  biggest 
handicaps — that  of  chronic  and  ap- 
parently incurable  ill-health.  She 
is  Vera  James,  born  in  Wellington, 
New  Zealand,  and  just  over  here 
from  Australia,  where  she  played  in 
pictures  and  in  stock.  Stuart  Paton, 
director  of  "The  Attic  of  Felix 
Bavu,,'  in  which  Miss  James  is 
working,  says  she  is  one  of  the  great- 
est emotional  actresses  of  any  time 
and  any  country.  Undoubtedly  her 
past  sufferings  and  her  highly 
strung  nervous  system  are  responsi- 
ble for  her  emotional  power. 


I 


Handicap  Sets  Style 


you  have  wondered  why  Irene 
Castle  has  not  been  seen  on  the 
screen  lately,  just  put  it  down  to  a 


50 


SfflMi 


broken  collar  bone,  which  is  mend- 
ing slowly.  And  speaking  of  Irene 
Castle  reminds  us  of  the  neat  way  in 
which  she  overcame  a  real  handicap 
and  created  a  new  style  at  the  same 
time. 


I 


Started  Bobbed  Hair 


jj.BBNE,  at  the  height  of  her  popu- 
larity as  a  dancer,  along  with  her 
husband,  Vernon  Castle,  suddenly 
discovered  that  she  was  losing  all 
her  beautiful  brown  hair  after  an 
attack  of  fever.  She  went  to  a 
famous  New  York  wig-maker  and 
he  advised  her  to  cut  it  short,  and 
to  take  scalp  treatments.  She  would 
not  have  it  shingled  as  he  advised, 
but  submitted  to  a  bobbed  haircut. 
The  "new  style"  took  the  country 
by  storm,  and  the  rage  of  that  par- 
ticular storm  is  just  dying  out 

Reacting  to  Colleen  Moore  s  de- 
lightful vivacity  on  the  screen,  one 


Little  Lois  Lee,  whom  you 
saw  as  Countess  Helgam 
The  Prisoner  of  Zenda,  had 
to  lie  flat  on  her  face  in  a 
plaster  cast  for  many 
weeks,  just  after  she  had 
made  her  first  real  success 
in  pictures. 


Photo  by  Evans 


Lila  Lee  is  a  real  heroine.    Poor  Lila  is 
naturally   plump,   and   has   to   diet  unre- 
mittingly to  .retain  that  slender  grace. 


would  never  think  of  handicaps  in  relation  to  her. 
But  the  fact  remains  that  Colleen  was  almost  kept 
out  of  pictures  by  an  amusing  oddity— she  has 
one  blue  eye  and  one  brown  eye.  "  It  was  a  long 
time  before  she  could  convince  a  director  that  a 
close-up  of  her  would  not  be  spoiled  by  this i  differ- 
ence in  color.  The  cameraman  has  to  watch  lights 
and  shadows  pretty  closely  to  get  those  expressive 
orbs  to  look  like  mates. 

Alec  Francis,  veteran  character  actor,  labors 
under  the  same  difficulty— one  of  his  eyes  is  blue, 

the  other  brown.  .  .   „  ,  , 

Speaking  of  minor  handicaps,  Gloria  Swanson  had 
to  overcome  two  difficulties  before  she  attained  her 
place  in  the  sun.    She  was  too  short  for  the  stately 
role*  in  which  her  director  wishes  to  cast  her,  and  her 
height  had  to  be  built  up,  by  means  of  extremely  high 
heels  and  towering  coiffures.    Her  other  apparent  handi- 
cap has  been  turned  into  an  asset.   When  Gloria  was  first  con- 
.ide  ed   or  stardom,  the  powers-that-be  at  Lasky's  decided  she 
would  have  to  call  in  i  plastic  surgery  expert  and  let  him  carve  her 

(Continued- on  page  98) 

5i 


Day  by  day,  in  every  way,  Cecil  De  Mille  is  getting 
better  and  better.  He  is  Coue-ing  himself  for  the 
mighty  task   of  filming  the  Ten  Commandments. 


Is 

Hollywood  ^ 

Qoitig 

Coue-Cuckoo 


By   ALMA  WHITAKER 


_AVE  YOU  a  little  Couc- 
cuckoo  in  your  home? 

Oh,  but,  my  dears,  you  should 
have  !  If  you  could  only  see  what 
they  are  doing  for  us  here  m  Holly- 
wood! ,  , 

Emile  Coue,  that  wonderful 
Frenchman,  who  wrote  the  marvel 


been  stolen  from  us?  And  now  Dr. 
Coue  says  that  a  well-trained  im- 
agination can  do  just  anything  for 
a  fellow. 

"Day  by  day,  in  every  way,  I  am 
growing  better  and  better.''  Im- 
agine how  comforting  this  assur- 
ance is,  now  that  the  country  is 


m^f^^t  z&irp horrid  criticisms 

thing  »  done: 

man  who  has  brought  this  great  sjrow  t^  ^  .^.^  <0 

b  "Da?  ov  day 'in  every  way,  T  am  taut  reasoning,  give  yonr  intellect^ 
groS  hetty'and  better!"5   That   holiday,  close  your  eyes  and  mn - 


is  dear  Dr.  Ooue's  word  for  us,  by 
which  our  little  group  of  serious 
thinkers  here  in  Hollywood  is 
profiting  so  much. 


mur  your  little  credo  ecstatically. 
Give  your  imagination  a  free  rein; 
just  let  it  meander  around  the  tri- 
umphant human  perfections  that 


En 


tungcan  sTfor  yourself  what  a  "better  and  betterness"  entails,  and 
plelsant  doctrine  this  is.  Dr.  Coue  then  blissfully  await  results, 
doesn't  lay  down  any  embarrassing 
laws  regarding  "will  power"  or  the 
domination  of  the  intellect  over 
one's  physical  weaknesses.  No,  sir, 
this  benefactor  insists  that  the 
imagination,  not  the  intellect, 
guides  us  wheresoever  we  go. 

J^ow,  if  there  is  one  thing  that 
we  Screenlanders  pride  ourselves 
upon,  it  is  our  imagination.  How 
else  could  we  give  out  proper  inter- 
views about  the  wonderful  new  con- 
tracts that  we  are  considering,  or  the 
family  heirloom  pearls  that  have 


fVERYBODY  is  doing  it  in  Holly- 
wood. 

Maurice  Tourneur,  for  instance, 

having   successfully  banished  all 

memory  of  Woman,  Lorna  Boone 

and  any   apprehensions  he  may 

have  harbored  as  to  the  merits  of  his 

The  Christian,  murmurs  fondly  to 

himself  all  over  the  United  Studios 

lot,  "Day  by  day  .  .  ."  etc.  Where 

imagination  is  bliss,  it  is  folly  to  be 

intellectual. 

Walter  Hiers  has  just  proved  one 


Gloria  Swanson  doubtless  says 
her  Coue  credo  on  a  rosary  or 
pearls.  And  we're  sure  she 
doesn't  stop  at  the  twenty  rec- 
ommended by  Dr.  Coue. 

of  the  most  successful  advocates  of  , 
the  Coue  doctrine.    He  has  just 
landed  snugly  in  the  shoes  left 
vacant  by  Wally  Reid.  < 

And  when  you  read  the  inspiring 
headlines  to  the  effect  that  Cecil 
De  Mille  is  about  to  film  the  ten 
Commandments,   possibly  answer- 
ing Ambassador  Harvey's  discon- 
certing query  as  to  whether  women 
have  souls  (as  well  as  bodies) —we 
simply    cannot    conceive    of  Mr. 
De  Mille  concentrating  solely  on 
pouls— you  may  gather  that  Cecil  is 
Coue-ing  himself  for  the  mighty 
task     Day  by  day,  in  every  way, 
Cecil  is  getting  better  and  better. 

C  B  could,  if  one  were  intrusive, 
possibly  be  found  lying  luxuriously 
in  a  downy  bed  with  silken  down 
coverlet  and  rose-spun  pajamas  most 
any  chilly  morning,  murmuring 
over  and  over  again  the  soft,  in- 
odious  dulcet  lines  with  their  in- 
toxicating rhythm,  lazihy  counting 
off  knots  in  a  string  of  baby  ribbon. 
For  this  is  the  system  auto-sug- 
0.ested  —  give  your  imagination  a 
little  pleasant  kindergarten  train- 
ing each  morning  before  rising, 

53 


preferably  while  your  intellect  and  will-power  are 
still  snoring  and  to  insure  saying  "Day  by  day  ..." 
about  twenty  times  without  the  effort  of  counting, 
just  keep  a  string  under  your  pillow  with  twenty 
knots  in  it  and  slip  these- between  the  fingers  like 
a  rosary.  Well,  one  can't  imagine  Cecil  with  a  mere 
ordinary  string,  so  his  must  be  baby  ribbon. 

In  the  case  of  Gloria  Swanson,  her  string  is  prob- 
ably a  string  of  selected  pearls  and  she  would 
scarcely  stop  at  a  mere  twenty. 


D 


"Day  by  day,  in  every  way,  I  am 
growing  better  and  better,"  ec- 
statically proclaims  Mary  Miles 
Minter.  But  her  friends  can  only 
note  that  dear  Mary  is  growing 
plumper  and  plumper. 


66 

kY  by  DAY,  in  every  way,  I  am  growing  better 
and  better,"  murmurs  Mary  Miles  Minter,  as  she 
decides  to  skip  her  "daily  dozen"  for  just  this  morn- 
ing. But  the  cold,  criticizing  world  can  only  note 
that  dear  Mary  is  growing  plumper  and  plumper. 

Of  course,  as  M.  Coue  concedes,  the  system  does 
not  always  effect  an  instant  cure.  That  is  because- 
one's  imagination  is  beset  with  dark  fears  and  hor- 
rible suspicions  that  maybe  one  is  not  as  perfect  as 
one  should  be.  In  such  cases  you  must  perse- 
vere. Just  lazily,  drowsily,  coax  your  imagination 
into  picturing  yourself  utterly  triumphant  in  some 
selected  sphere,  murmuring  "It  is  easy,  I  can  do 
it,"  and  behold,  in  time,  it  comes  to  pass.  M.  Coue 
vouches  for  it. 

Wherefore  we  may  safely  take  it  that  ardent 
Coue-cuckoos  of  the  moment  are  Mary  Miles  Minter, 
Mildred  Harris,  Geraldine  Farrar,  J.  Warren  Kerri- 
gan, Bessie  Love,  Bessie  Bariscale,  Theda  Bara, 
Mabel  Normand,  Jean  .  Acker,  etc.  Oh,  one 
can  add  to  the  list  indefinitely  of 
those  for  whom  Coue  must  be  a 
heaven-sent  boon.  "Day  by  day,  in 
every  way,  I  am  getting  better  and 
better." 


"It  is  easy,  I  can  do  it," 
falters  Walter  Hiers, 
and  to  prove  that  real 
Coue'- cuckoos  can 
triumph  even  over 
broken  mirrors  he  lands 
Wally  Reid's  starring 
role  in  Mr.  Billings 
Spends  His  Dime. 


^^_t  this  writing  Jean  Acker  has 
been  refused  permission  to  shine 
under  the  name  of  Mrs.  Rodolph 
A'Talentino — which  rather  looks  as 
though  V  alentino  himself  Coue- 
cuckooed  more  successfully  than 
Jean  on  that  particular  subject. 
There  is  a  hitch  in  the  system  here 
— because  M.  Coue  first  insists  that 
one  must  not  try  to  dominate  one's 
imagination  by  reason,  while  on  an- 
other page  he  says  that  one's  imagi- 
native desires  must  be  "reasonable," 
if  that  "It  is  easy,  I  can  do  it" 
rhythmic  phrase  is  to  be  uttered 
with  success.  Where,  oh,  where  did 
Jean  fail?  ' 

A  triumphant  example  of  Coue- 
cuckooing  is  our  friend  Rupert 
Hughes  down  at  Goldwyn's. 
Rupert  has  successfully  Coued 
himself  and  the  whole  Goldwyn 
lot.  Whether  Rupert  wants  to 
write,  direct,  subtitle  or  act  in  a  pic- 
ture, he  never  has  to  get  beyond  the 
first  knot,  In  fact,  Rupert  may  be 
said  to  be  one  of  our  most  shining 


examples  of  Coue-cuckoo  triumph. 
"It  is  easy,  I  can  do  it" — and  behold 
Rupert  has  gone  and  done  it  every 
time  he  tried. 


E. 


Elinor  Glyn  is  a  pretty  good 
Coue-cuckoo,  too.  A  n  y  w  a  y,  one 
doesn't  catch  her  letting  intellect 
dominate  very  often,  although  will- 
power occasionally  butts  in.  But, 
on  the  whole,  Elinor's  imagination 
appears  to  run  things  rather  well. 
And  you  remember  that  M.  Coue 
says  quite  emphatically  that  when 
there  is  a  conflict  between  intellect 
and  imagination,  imagination  al- 
ways wins.  You  can  see,  therefore, 
how  very  imperative  it  is  to  have  a 
well-bred  and  well-principled  im- 
agination— and,  thank  heaven,  Eli- 
nor moves  in  the  most  aristocratic 
circles. 

A  Coue-cuckooer  of  parts  is  that 
merry  little  Louise  Fazenda,  comedi- 
enne, at  United  Studios.  Louise  ar- 
rives on  the  scene  ready  for  work, 
with  the  company  in  dismal  des- 
peration. They  are  making  comedies 
and  somebody  has  got  to  be  funny. 
The  director  doesn't  feel  a  bit 
funny,  the  rest  of  the  cast  feels  any- 
thing but  funny;  there  isn't  any 
scenario,  so  no  one  knows  exactly 
how  to  begin — just  have  to  make  it 
up  as  they  go  along.  And  nobody 
can  do  a  thing  until  Louise  has  a 
funny  idea,  Nothing  could  be  more 
fatally  depressing. 

But  Louise  murmurs  "Day  by 
day  ..."  and  beams  'round  upon 
the  sad  and  distressed  company. 
Then  she  croons,  "It  is  easy.  I  can 
do  it"  about  four  times — gazes  at  a 
ditch  full  of  cold,  cold  water,  not 
overly  clean,  and  proceeds  to  fall 
into  it.  It  is  a  cold,  cold  day,  so 
Louise  comes  up  shivering,  but  still 
gurgling,  "Day  by  day,  in  every 
way,  I'm  getting  better  and  better' 


— -and  the  director  yells  with  trium- 
phant delight:  "Hurrah!  Isn't 
!  .ouise  the  funniest  thing?"  So  the 
story  proceeds  with  Louise  falling 
in  and  climbing  out  of  the  cold  and 
clammy  water,  shivering  a  bit  more 
realistically  every  time,  and  des- 
peration and  depression  are  turned 
into  hilarious  comedy — with  Louise 
still  grinning,  "It  is  easy.  I  can 
do  it."  If  that  isn't  pretty  good 
Coue-cuckooing  I  don't  know  what 
is. 


I 


don't  believe  Bill  Hart  has  be- 
come a  really  earnest  Coue-cuckooer 
just  yet.  Or  else  he  overlooked 
Page  13  on  which  M.  Coue  com- 
mands :  "Shut  yourself  up  alone  in 
a  room,  seat  yourself  in  an  arm- 
chair, close  your  eyes  to  avoid  any 
distraction,   and  concentrate  your 


Bill  Hart  hasn't  become  a  really 
earnest  Coue-cuckooer  yet,  or  else 
Winifred  Westover  Hart's  imagi- 
nation and  will-power  are  doing 
team-work  in  the  opposite 
direction. 


mind  for   a   few   moments  upon 
thinking  'Such  and  such  a  thing  is 
going  to  disappear,'  or  'Such  and  ■ 
such  a  thing  is  coming  to  pass.'  " 

After  that,  everything  will  de- 
pend upon  whether  Mrs.  Bill  Hart 
and  Junior  respond  gracefully — or 
whether  Mrs.  Bill's  imagination  and 
will  power  are  doing  team  work  in 
the  opposite  direction. 

The  Coue  method  as  applied  to 
children  must  have  been  most  radi- 
antly exercised  by  Mr.  and  Mrs. 
Coogan.  The  instructions  require 
the  parents  to  tiptoe  into  the  bed- 
room after  the  lambkin  is  asleep, 
and,  standing  about  three  feet  from 
the  bed,  murmur,  softly,  in  a  sing- 
song, dreamy  voice,  "Thus  and  thus 
shall  my  child  become." 

(O^ne  can  picture  Jackie  Coogan's 
fond. parents  making  this  tender  pil- 
grimage every  evening — and  bless- 
ing M.  Coue,  who  opened  the 
floodgates  of  light  for  them  upon  a 
problem  which  so  many  parents 
never,  never  solve.  Of  course,  if  you 
ask  them,  Coogan,  mereet  pere,  will 
tell  you  that  Jackie  is  such  an  intel- 
ligent little  boy  that  they  only  have 
to  reason  with  him.  But  some  of 
us  mothers  have  intelligent  little 
boys  of  our  own — and  we  know 
there  is  more,  to  the  secret  than  that. 
The  Coue  system  of  inculcating  vir- 
tue while  they  sleep  has  a  good  deal 
more  to  recommend  it — and  it  isn't 
half  so  wearing. 

You  can  readily  see  what  M.  Coue 
is  doing  for  Screenland.  This  dear, 
benign  Frenchman  and  his  little 
book  are  all  the  rage. 


Imagination, 


km 


IMAGINATION 


What  triumphant 
possibilities  do  you 
not  hold  for  us? 


55 


Hollywood  Divorce  Ring 


Desertion  covers  a  multitude  of  indiscretions,  says 
Alma  Whitaker,  who  explains  amusingly 
how  Hollywood  film  stars  buck  the 
divorce  ring  without  incurring 
unpleasant  publicity 

Right-minded  screen  stars 
may  properly  have  their  af- 
fections alienated  by  their 
Art,  but  by  nothing  else. 
No  vulgar  mention  of  par- 
ties of  the  third  part  is  al- 
lowed. Mary  Pickford's 
chief  complaint  against 
Owen  Moore  seemed  to  be 
that  he  was  no  longer  the 
adoring  husband  she  had 
married  .  .  .  that  their 
temperaments  were  incom- 
patible. 


NCE  upon  a  time — and  not 
so  long  ago   at  that — a 
good,  zippy  divorce  scan- 
dal was  considered  excel- 
lent publicity,  in  film  circles. 

The  press  agent  who  "planted" 
such  a  story  in  the  daily  papers, 
with  photographs  of  all  the  princi- 
pals and  a  nice  spread  in  the  Sun- 
day Supplement,  considered  him- 
self entitled  to  a  raise  in  salary. 
And  not  infrequently  got  it. 
But  those  days  are  no  more. 

.1  oday,  with  the  public  and  Will 
Hays  so  suddenly  moral  and  all,  the 
film  star  who  finds  the  holy  bonds 
of  matrimony  a  bit  galling,  seeks  a 
divorce  with  as  few  fireworks  as  pos- 
sible. A  line  or  two  tucked  in  as 
filler  in  among  the  vital  statistics 
column  strikes  her  as  undue  pub- 
licity. 

Desertion,  in  film  circles  as  else- 
where, covers  a  multitude  of  indis- 
cretions.   Wherefore  desertion 
is  almost  invariably  the  innocu- 
ous charge  invoked  against  a 
recreant  spouse  in  Hollywood. 

Think  back  over  recent  screen 
divorces  and  see  if  you  can  recall 
an  instance  of  a  star  coming 
right  out  with  direct  accusa- 
tions, other  than  the  respectable 
and  above-named  one  of  de- 
sertion or  non-support.  Nev- 
er any  vulgar  mention  of  4 
parties   of  the   third  part. 
Right-minded  screen  stars 
mav  properly  have  their  af- 
fections alienated  by  their  _ 
art,  but  that  is  the  extreme  limit. 

56 


on-  our-  nicest  movie  stars 
give  evidence  of  this  restraint  and 
good  taste.  The  details  of  Mary 
Pickford's  divorce  suit  in  far-off 
Nevada  are  rather  dimmed  in  mem- 
but  we  did  rather 


ory  now, 

Herbert 
Somborn 
destroyed 
Gloria 
Swanson's 
affections 
through 
only  the 
most 
ethical 
means. 
It  was 
a  case 
of  simple 
desertion, 
said 
Gloria ; 
possibly 
Herbert 
wore  loud 
ties  and 
hob-toed 
shoes 


gather 


that  Mary's  chief  complaint  against 
Owen  Moore  was  that  he  had  ceased 
to  be  the  adoring  husband  that  she 
had  married,  and  that  he  had  de- 
serted her.  But  she  never  accused 
him  of  making  eyes  at  lesser  charm- 
ers, or  anything  really  vulger  like 
that. 

Of  course  the  first  Mrs.  Douglas 
Fairbanks  did  rather  break  the  eth- 
ical rule  in  the  first  flush  of  her 
indignation,  but  then  she  was  not 
herself  a  member  of  the  profession. 
But  even  she,  when  the  case  was 
actually  tried,  minimized  "the  other 
woman"  charge  and  dwelt  rather 
upon  merely  cruelty  complaint. 

And  although  Mildred  Harris 
found  it  urgently  desirable  to  part 
from  Charlie  Chaplin,  her  charges 
were  of  coldness,  cruelty,  desertion 

 never  a  wicked  siren  appeared  on 

the  horizon  to  take  the  blame. 


,  .  auline  Frederick;  who  twice 
divorced  Willard  Mack,  was  most 
ladylike  about  it.    Willard's  faults 
and  failings  were  well  within  the 
morality  sphere.  Nothing  in  any 
way  nasty. 

Nor  can  we"  recollect  that  Mr. 
Herbert  Somborn  destroyed  Glo- 
ria Swanson's  love  for  him 
through  any  but  the  most  ethical 
means.    As  far  as  we  can  recall, 
it  was  a  case  of  simple  desertion— 
and  possibly  he  wore  loud  neckties 
and  hob-toed  shoes.    At  all  events 
the  effect  left  upon  our  memory  is 
entirely  void  of  the  more  serious 
improprieties. 

And  what  was  it  that  Constance 


bJ)  from  wu>M'Irm>/fm 


Talmadge's  millionaire  tobacconist 
did?  We  really  can't  quite  remem- 
ber. Perhaps  he  smoked  a  clay  pipe 
and  the  cheapest  brand  of  his  own 
commodity.  Or  insisted  upon  leav- 
ing his  hair  brush  near  her  tooth 
brush.  Or  was  a  bit  objectionably 
bossy. 


A  s  for  Valentino — Jean  Acker 
brought  a  score  of  charges,  all  the 
way  "from  frivolous  disinterest  and 
incompatibility  to  deser- 
tion and  non-support,  but 
you  can  see  for  yourself 
she  would  never  insist  on 
being  known  as  Mrs.  Ro- 
dolph  Valentino  after  the 
debacle  if  he  had  affronted 
her  with  any  more  alarm- 
ing sins— now  would  she? 
Divorced  wives  have  their 
pride. 

When  Carmel  Myers 
shed  Isadore  Kornblum,  it 
was  only  because  he  had 
deserted  her,  and  failed  in 
that  sympatica  charm 
w  h  i  c  h  some  husbands 
never  can  attain. 

And  when,  after  his  sec- 
ond divorce,  James  Young- 
cited  certain  unpleasant- 
indictments  against  Clara 
Whipple  Young,  by  which 

Jean  Acker  brought  a 
score  of  charges  against 
Valentino,  but  you  can 
see  that  she  would  never 
insist  on  being  known  as 
Mrs.  Rodolph  Valentino 
if  he  had  affronted  her 
with  any  really  alarming 
sins.  Divorced  wives  have 
their  pride. 


he  felt  justified  ' 
in  requiring  the 
return  of  certain 
properties — it  was  made 
very  plain  that  both  parties 
had  been  at  peculiar  pains  . 
to  avoid  any  unkind  charges 
in  the  original  divorce.  And 
no  one  could  have  been  more 
gratified  than  Mr.  Young — we 
feel  certain — than  to  have  the 
judge  decide  that  Clara  could 
still  be  assumed  "virtuous."  It 


What  was  it  Connie  Talmadge's  mil- 
lionaire tobacconist  did?  We  can't 
quite  remember.  Perhaps  he  smoked 
a  clay  pipe,  or  insisted  on  leaving  his 
hair  brush  near  her  tooth  brush. 


was  worth  the  price  of 
the  properties  to  have  his 
ex-wife's  reputation  cleared. 
Of  course. 

!§>o  firmly  established  is  this 
ethical  understanding  that  we 
doubt  if  any  star  would  con- 
sider for  a  moment  bringing 
a  divorce  suit  if  she  had  no 
other  charge  than  the  ulti- 
mate improper  one.  Certainly 
not  if  hubby  could  be  per- 
suaded to  be  a  perfect  gentle- 
man and  desert  her  instead — 
preferably  at  the  lure  of  golf, 


Mildred  Harris  found  it 
urgently  desirable  to  part 
from  Charlie  Chaplin,  but 
not  because  of  any  wicked 
sirens.  Oh,  dear,,  no;  her 
charges  were  merely  cold- 
ness and  desertion. 

or,  at  a  pinch,  for  the  exces- 
sive use  of  the  more  expen- 
sive bootleg  whisky,  . 
although  this  latter  charge 
is  coming  more  and  more  to 
smack  of  ostentation. 

As  for  film  husbands, 
they  can  be  counted  upon 
to  be  even  more  gallant. 
When  they  wish  to  cease  the 
marital  partnership,  when, 
in  fact,  the  lady  has  out- 
lived their  liking,  rather 
than  bring  any  complaint 
against  her,  they  will  them- 
selves commit  a  few  trifling 
crimes  and  permit  the  lady 
to  shed  them  gracefully  on 
her  own  account. 

All  of  which  is  offered  as 
evidence  that  our  film  col- 
ony is  infinitely  more  genteel,  more 
sensitive  to  the  delicacies  of  life 
than,  say,  our  bankers  or  commer- 
cial magnates.  Where,  for  instance, 
could  one  duplicate  the  Stillman 
case  in  screenland?  Or  the  Stokes 
case?  Or  even  the  Joyce  case?  One 
shudders  to  think  of  the  alarming 
results  if  our  film  stars  ever  de- 
scended so  low. 


I 


_f  we  feel  that  we  positively  must 
shed  a  spouse  in  filmland  and  rush 
to  our  lawyers  in  poignant  sorrow 
and  regret,  it  is  understood  that  said 
(Continued  on  page  95.) 

57 


from  »MSf^«®OT 


High  J^ife  in  Hollywood 

The  Play  Hours  of  the  Tlayfolks 


By  ISABEL  PERCIVAL 


Elliott  Dexter  was  recently  married  to  Mrs.  Nina  Unter- 
meyer   of  New  York  and  Pasadena.   The  ceremony  took 
place  at  the  home  of  Cecil  B.  DeMille  (left). 


girl  brought  back  by  Douglas  Fair- 
banks on  his  last  trip  East  to  be  his 
new  leading  lady,  was  the  honor 
guest.     A  famous  English  play-1' 
wright    and    a    Teutonic-looking . 
gentleman  in  a  great  leather  coat,  • 
whom  everybody  whispered  must  be 
Ernst  Lubitsch,  were  other  guests. 
Lubitsch,   who  may  direct  Mary 
Pickford's  next  picture,  had  not  yet 
arrived  in  the  film  capital  however. 
Mr.  and  Mrs.  Charles  Ray  also  had 
seats  in  the  Fairbanks  box. 

In  an  adjoining  box  were  the 
William  and  Cecil  DeMilles,  en 
famille,  and  nearby  were  the  Jesse 
Laskys,  the  Wilfred  Bueklands  with 
the  darling  Buckland  baby. 

Other  famous  box-holders  were 
May  Allison  and  Agnes  Ayres,  Pola 
Negri,  Tom  Mix  as  usual,  Hal 
Roach,  Larry  Semon,  Al  St.  Johns, 
and  Allan  Dwan.  Blanche'  Sweet 
was  present  with  her  equally  famous 
husband,  Marshall  Neilan,  Claire 
Windsor,  Jeannie  MacPherson  and 
Charles  Eyton. 


ELLIOTT  DEXTER  has  be- 


come a  benedict  for  the  second  time. 
At  a  very  exclusive  ceremony  at  the 
home  of  Cecil  B.  DeMille,  Mr, 
Dexter  and  Mrs.  Nina  Untermeyer, 
of  New  York  and  Pasadena,  were 
married.  Mr.  DeMille  gave  the 
bride  away. 

Mrs.  Dexter  presented  her  bride- 
groom with  a  magnificent  sapphire 
ring.  After  the  ceremony,  the 
couple  repaired  to  their  beautiful 
country  place  in  the  foothills  of 
Pasadena, 

Mrs.  Dexter  has  long  been  one  of 
the  most  striking  figures  in  society's 
smart  set  and  is  particularly  known 
as  an  exhibitor  of  highly  pedigreed 
dogs. 

Elliott  Dexter  was  formerly  the 
husband  of  Marie  Doro. 


were  co-hosts  at  a'  festive  little  New 
Year's  eve  party  at  the  Franklin's 
attractive  Hollywood  home  on 
Whitley  Heights. 

Small  tables  were  arranged  about 
the  dancing  floor  in  cabaret  fashion 
and  were  softly  lighted  by  candle 
light.  Of  course,  beside  music  and 
dancing  and  a  midnight  supper, 
there  was  all  that  goes  to  make  the 
New  Year  happy. 

Among  the  guests  were  the  Misses 
May  McAvoy,  Lois  Wilson,  Marie 
Prevost,  Irene  Rich,  Jane  Murfin, 
Mr.  and  Mrs.  Jack  Holt,  Mr-  Rich" 
ard  Dix  and  Mr.  Kenneth  Harlan. 


D. 


M, 


.r.  and  Mrs.  Conrad  Nagel, 
with  Mr.  Sidney  Franklin,  well- 
known  director  and  Mrs.  Franklin,- 


;arly  everybody  worth  men- 
tioning in  screenland's  social  regis- 
ter had  boxes  at  the  Hollywood 
Speedway  to  see  the  auto  races  on 
New  Year's  day.  The  Fairbanks 
party  was  the  most  interesting,  per- 
haps", of  all  the  gay  gathering. 
Evelyn  Brent,  the  charming  young 


onating  dolls,  miniatures  of 
their  famous  selves,  fildom  turned 
out  in  force  to  patronize  the  Christ- 
mas Shoppe,  opened  in  the  pictur- 
esque English  home  of  Mr.  and  Mrs. 
William  Gibbs  McAdoo. 

The  dolls  were  auctioned  off  to 
the  highest  bidders  and  some  of 
them  sold  for  really  exhorbitant 
sums.  Chances  on  the  Mary  Pick- 
ford  doll  were  raffled  off.  Mrs 
McAdoo  won.  There  was  a  wild 
rush  for  the  Douglas  Fairbanks 
Robin  Hood  doll.  Otherpopular  dol- 
lies were  named  after  Patsy  Ruth 
Miller,-  Carmel  Myers,  Lois  Wilson, 
Claire  Windsor,  Bessie  Love,  Billie 
Dove  and  Julanne  Johnston. 

Mrs.  Tully  Marshall  (Marion 
Fairfax)  presided  at  the  Authors' 
table,  Avhere  autographed  books  and 
pictures  were  sold.  Rupert  Hughes 
was  book-master.  Mr.  McAdoo,  as- 
sisted by  Lionel  Belmore,  acted  as 
auctioneers. 


58 


A    ~           ho™.  _y  «%^»  *«*  ^l^^le"  fe 

/\    marked  the  wedding  of  Ora  to  Mr,  Uiapim.  l 

iiJciiivevx  U4<=  »          t,  «TWs  'i  nrettv  £irl  you  have 

z^r™*£  ^fe-  ^tt^ 

The  couple  left  immediately  for  then  he  added,    Just  between  you  the  co.  _  Metro 

h  brief  stay  in  New  York,  and  re-  and  me,  she  is  my  sweetheart.  signed  a  ne*  com 

turned  to  Hollywood  in  time  for  «Splendid»  replied  the  steel  mag-  that  has  placed  him  at  the  top  of 

Ecarewe  to' start  work  on  her  ^  ,j  congratulate  you  both."  stardom    He  was  to  b  P^5^- 

new  picture.    After  the  completion  000  just  for  signing  his  name  to 
of  the  film,  the  Howards  will  leave 
for  an  extended  tour  of  Europe. 


000  just  for  signing  his  name  to  a 
dotted  line.    Under  the  agreement 
W^HiLEdancingthere  with  Charlie  with  Metro,  he  will  receive  a  cash 
Miss   Violet   Ularlc,    a  laienieu   c]     lin   her  constant  escort,  on  a   bonus  of  $500,000  and  60  per  cen, 
Scenario   writer   at   the   Goldwyn  evening  Miss  Negri  agreed   of  the  profits,  from  four  pictures 

studio,  was  wedded  to  Mr.  Robert  m  Chaplin  that  if  he  would   which  he  will  ,  make  during  the 

Freeman  at  a  quiet  but  beautifully  —  ^  would  sit    coming  year. '  This  is  not  so  bad 

appointed  wedding  at  ^Church  « >  &{  ^  fo]lowing  one.    for  him.       ,  ' 

of  the  Angel,  m  Hollywood    After  ^fc.  ^  ^  lcJ  &m 

^orrL^na^Te  afraid  I  do  not  know  vairy  moOch  ^he  kws  has.  Just  recently  come . 
*g  breakfast  was' served.  about  ze  Aiuericain  dances  yet,  but ;  ^        ^  Web     the  well  known 

The  young  couple  left  at  once  for   I  bke  to  learn.  producer  ;  of  motion  pictures  and 

New  York  and  thence  to  London,  founder  of  the  Lois  Weber  Produc- 

where  they  will  stay  until  early    TO  engagements  in  the  tions,  was  divorced  last  June  24; 

spring.  Hollvwood  contingent  include  Mae   The   decree   was    granted  within 

Mr  and  Mrs.  Robert  Ellis  (May        ^  ^  AKred  Wilkie,  Mary  twenty-four  hours  after  the  suit  had 
'  Allison)    are   enjoying   a   belated       J     Minter  and  Loifis  Sherwin,   been  filed,  was  revealed  today  when 
honeymoon  tour  of  the  world.  They    .  ^  Jack  Kerrigan,   it  was  learned  authoritatively  that 

expect  to  be  away  five  months.  yi    •  ia  Sutherland  and  Wallace  the  case  of  "F.  L.  Smalley  vs.  W.  1 

Beery  Marie  Prevost  and  Kenneth   Smalley"  was  none  other  than  that 
(O  .    i   tj   i'     Thi«  is  a  record  breaker  in   of  Miss  Weber,  who  in  private  lite 

Chaplin  were  going  to 
make  a  try  for  content- 
ment in  the  holy  bonds 
of  matrimony  word  was 
flashed   from   a  news- 
paper office  in  Berlin 
that  Pola  was  not  free  to 
marry  Charlie  as  she 
had  not  been  granted 
her  divorce  from  Count 
Domski.   When  report- 
ers broke  the  news  to 
her,  she  was  not  long  in 
dispelling  their  fears  by 
showing  them  her  di- 
vorce papers.    The  ru- 
mor   that    they  were 
sweethearts  was  created 
at  a  recent  interesting- 
event  in  the  Cocoanut 
Grove  at  the  Ambassa- 
dor Hotel  at  which  Pola 
made  her  debut  as  a 
dancing  connoisseur  in 
the  all-star  dancing  con- 
test. 

Charles  Schwab,  the 
steel  magnate,  who  was 


Probably  the  most  interesting  bo^party  at  the  New  Year's  auto  races 
at  the  Beverly  Hills  Speedway  was  the  one  given  by  Mr  an  Mrs. 
at  tne  ^evciij _  r  nhotograph  shows  Mr.  Fairbanks  (left),  Mrs. 

?^J^^^vS)°iL^lyn  Brent  Mr.  Fairbanks'  new 
Fairbanks  (M^  ^  (dght)  ^  ^  rear)  Ch^s^y.^ 


■mm 


y 


from  EBfflUEifWMSr 


Copyright  by  Harris  &  Eujin 


Will  Hays 


Yes,  Hollywood  has  its  drug 
peddlers  who  would  damn  a  soul 
to  hell  and  back  again  for  the  sake 
of  a  few  dollars. 

Is  Will  Hays  to  be  the  Miracle 
Man  to  stamp  out  this  traffic  in 
human  hearts? 


60 


DOPE 


The  Story  of  Wallace  Reid's  Fight  to  Come  Back 


By  EUNICE  MARSHAL 


ALLACE  REID  was  near 
to  death.  Three  times  during  a 
long  night,  he  had  gone  far  down 
{he  Valley  of  Shadow.  Only  the 
strengthening  presence  of  his  wile, 
kneeling  at  his  bedside,  availed  to 
bring  him  back  out  of  the  darkness. 
Not  a  screen  idol  now  ...  not  the 
dashing,  lovable  Wally  whom  the 
feminine  world  adores.  Just  a  boy 
a  very  sick  and  penitent  boy,  with 
the  Gray  Spectre  watching  .  .  • 
waiting  at  the  bedside. 

"I've  thought  it  all  out  in  the 
night,  mama,"  he  whispered.  1 
thought  I  was  going  out  .  .  •  that 
I  wouldn't  be  here  to  see  you  again 
when  the  dawn  came.  But  if  I  get 
well  . .  our  life  will  be  so  differ- 
ent from  the  old  life.  We  will  be 
happy  together,  won't  we,  mama  ( 

And  Dorothy  Davenport  Reid 
swallowed  the  sobs  in  her  throat 
and  smiled  her  assent  to  her  hus- 
band, hers  now  as  he  had  not  been 
for  three  long  years. 

And  the  Gray  Spectre  at  the  bed- 
side drew  back  a  little  .  .  ■  just  a 
tiny  space  back  .  .  .  into  the 
shadows. 


Wally's  swashbuckling  raillery  .  .  • 
you  have  morphine  to  thank  for 
them. 

Three  years  ago,  Reid  was  on 
location  near  San  Francisco.  A 
large  rock  fell  from  an  over-hang- 
ing bank  and  struck  Reid  on  the 
back  of  the  head.  Wally  was 
knocked  unconscious   and  eleven 


WILL  HAYS  SAYS: 

"I  join  with  all  others  in  hoping 
that  Wallace  Reid  will  win  back 
his  health  and  be  himself  again. 

"The  boy  is  not  to  be  censured 
or  shunned.  It  is  a  matter  to  be 
prayed  over,  not  judged.  We  must 
all  try  to  help  him,  try  to  restore 
him  to  health." 


stitches  were  taken  in  his  scalp. 

.Mrs.  Reid  dates  her  husband's 
downfall  from  that  accident. 


A, 


^Vhat  could  have  brought  stal- 
wart Wallace  Reid  to  the  brink  of 
death?  Thin,  white,  seemingly  aged 
a  score  of  years  in  a  few  short 
months;  the  one-time  laughing 
mouth-  drooped ;  the  gay  eyes  list- 
less, burnt  out. 

"Drink  and  the  Devil,"  suggest 
his  fair-weather  friends,  parasites 
who  have  lived  largely  on  Reid's 
bounty,  who  have  broken  his  bread 
and  eaten  his  salt  and  made  the 
hospitable  Reid  home  "more  of  a 
road-house  than  a  home,"  as  Mrs. 
Davenport,  Wally's  mother-in-law, 
has  stated. 

Drink  and  the  Devil— and  drugs. 
That  smile  you  have  missed  in 
Wally's  recent  pictures;  the  lacka- 
daisical listlessness  that  supplanted 


a  jj.lways  a  genial  host,  the  lovely 
home  in  the  Hollywood  hills,  which 
he  built  as  a  love-token  to  his  wife, 
became  more  and  more  a  rendez- 
vous for  wasters  who  acclaimed 
Wally  as  a  prince  of  good-fellows. 

Wine  was  always  on  tap.  Guests 
came  and  stayed  for  hours,  unin- 
vited. They  carried  away  with 
them  quart  after  auart  of  Wally's 
liquor. 

"When  Wally  recovers,"  stated 
Mrs.  Davenport,  "we  are  going  to 
build  a  new  home  in  a  more  se- 
cluded spot.  There  will  be  a  high 
iron  fence  around  it,  with  .the  'Not 
Welcome'  sign  hung  out.  We  want 
our  fair-weather  friends  to  leave  us 
alone.  Our  real  friends  know  they 
will  always  be  welcome." 

M  rs.  Reid  indignantly  denied 
rumors  of  'orgies'  at  the  house. 

"To  understand  the  parties  given 
here,  you  must  understand  Wally 


L 


—must  know  the  great,  boyish 
heart  of  him,"  said  his  loyal  wife. 
"Everyone  was  his  friend,  the  car- 
penters at  the  studio,  the  electri- 
cians, everybody.  They  all  called 
him  Wally. 

"When  they  speak  of  orgies,  they 
lie.  Orgies  are  held  behind  closed 
blinds.  Nobody  ever  saw  the  blinds 
closed  in  the  house  of  Wallace  Reid. 
Liquor  was  served,  of  course.  There 
was  too  much  liquor  .  .  .  whiskey, 
.morning,  noon  and  night.  But  not 
orgies." 

Finally  whiskey  no  longer  gave 
Wally  the  needed  stimulus.  He  was 
tired  all  the  time.  He  felt  that  he 
needed  all  the  power  that  was  in 
him  for  his  interpretation  of  the 
role  of  Peter  Ibbetson. 

iSo  he  tried  morphine.  For  two 
years  the  little  needle  with  its  se- 
ductive, treacherous  comfort  was  his 
constant  solace.  He  was  a  confirmed 
drug  addict. 

And  then,  he  stopped!' 


A. 


JJ.FTER  two  years  of  constant  use 
of  morphine,  he  tore  himself  away 
from  the  terrible  habit  that  gripped 
him,  body  and  soul. 

He  suffered  the  tortures  of  the 
damned,  of  course.    No  sleep,  no 
peace,  comes  to  the  wretched  soul 
in  the  grip  of  the  drug  habit,  when 
denied  "the  "dope."  Tortured  nerves 
,Cry  out.  The  heart  beats  fast  .  .  . 
then  slow  .  .  .  then  suffocatingly 
fast  again.  Hands  twitch ;  the  mind 
can  never  rest.   Always  the  nerves 
send  up  to  the  brain  the  ceaseless, 
maddening  cry  for  the  blessed  com- 
fort in  the  little  morphine  needle, 
Just   a  tiny   prick  ...  and  _  the 
poor,  suffering  nerves  will  be  stilled 
by  the  delicious  solace  of  the  drug. 

Twice  Wally  fought  and  seem- 
ingly won.  And  twice  he  fell. 
"How  did  I  happen  to  let  myself 
go,  mama?"  he  would  ask  patheti- 
cally of  his  wife,  during  the  terrible 

61 


1  fromlSBDEdBaSwSXSSa) 


If  he  lives.  .  .  .    Can  he  come  back? 

Can  an  actor,  once  dethroned,  ever  resume  his 
place  in  the  public  favor.  Roscoe  (Fatty)  Arbuckle 
bas  found  the  process  a  long  and  difficult  one. 
Though  permitted  to  again  make  picture,?,  by  Hay's 
edict,  will  he  find  the  audiences  willing  to  pay  their 
money  to  see  him?  After  all,  it  is  the  public,  not 
Hays,  who  makes  and  unmakes  stars, '  and  all  the 
official  condoning  in  the  world  cannot  "put  over" 
a  star  against  the  desires  of  that  same  public. 


F, 


eancis  X.  Bushman,  who  committed  an  act 
that  scores  of  stars  have  duplicated  since,  could  not 
come  back.  Can  Wally? 

"The  boy  is  not  to  be  censured  or  shunned !"  de- 
clares Will  Hays.  "He  should  be  dealt  with  as  a 
diseased  person.  It  is  a  matter  to  be  prayed  over, 
not  judged.  We  must  all  try  to  help  him,  try  to 
restore  him  to  health." 


Dorothy  Davenport  Reid,  on 
the  veranda  of  the  Reid  home 
in  Hollywood  that  for  two 
years  was  "more  like  a  road- 
house  than  a  home."  To  Mrs. 
Reid's  unwavering  loyal- 
ty to  her  actor-husband,, 
through  his  years  of  dis- 
sipation and  later  illness, 
is  due  Reid's  victory  over 
V  narcotics. 

Photo  by  Spdriv 


This  is  the  latest  photo  of 
Wallace  Reid  who  has  been  re- 
ported as  fighting  to  shake  off 
the  drug  habit,  which,  it  is  said, 
he  contracted  while  keeping  up 
the  strenuous  demands  of  his 
film  activities. 

Photo  by  International  News 


time  of  struggle.  "Why  couldn't 


I  have  stopped  long  ago?  I 
thought  I  was  so  strong!  I 
thought  I  knew  myself  so  well !" 

For  weeks  the  fight  con- 
tinued, with  Dorothy  Reid  al- 
ways at  her  husband's  side. 
Until  the  story  finally  got  into 
the  public  prints,  never  did  she 
utter  a  word,  except  of  denial  of 
any  family  discord.  She  fought 
with  him,  through  the  long- 
days  and  the  longer  nights.  Her 
suffering  was  as  great  as  his. 


'/•■ 


A 

nd  finally,  the  battle  was 
won.  But  the  struggle  brought 
the  victor  to  the  very  gates  of 
death.  As  this  is  penned, 
Wallace  Reid'  lies  on  the  brink  of 
the  next  world.  Death  may  come  at 
any  moment. 

But  if  Wallace  Reid  dies,  he  dies 
clean.  He  has  broken  away  from 
the  drug  habit.  With  his  soul's 
suffering  he  has  wiped  away  the 
memory  of  his  lapses. 

62 


The  famous  smile  that 
made  Wally  beloved  by 
feminine  hearts  of  three 
continents.  This  pic- 
ture was  taken  before 
the  inroads  made  by  the 
morphine  on  Wally's 
constitution  were  much 
in  evidence.  Note  the 
difference  between  this 
photograph  and  the  one 
of  Reid  at  top  of  page. 

Photo  by  Sykes 


A  good  man  and  a  true  one 
attempted  to  be  a  Miracle 
Man,  once  before.  His 
name  was  William 
Desmond  Taylor, 
and  he  paid  for 
his  philanthropy 
with  his  life. 
A  n  assassin 
shot  him 
down,  be- 
cause 
he  at- 
tempted 
to  save 
one  of 
film- 
dom's 
fair- 
e  s  t 
daugh- 
t  e  r  s 
from 
the 
soul- 


Meanw'hile,  Wally  Reid  is  receiv- 
irig  half  salary  from  Famous  Play- 
ers-Lasky.  No  preparations  arc 
being  made  for  his  return  at  the 
studio. 

The  most  tragic  thing  about  the 
terrible  drug  habit  is  the  fact  that 
it  leaves  a  void  in  the  victim  which 
nothing  can  fill.  It  develops  char- 
acteristics that  must  continue  auto- 
matically after  the  desire  for  drugs 
has  been  cured.  Seldom  do  life 
and"  energy  return  in  any  great 
degree  to  the  cured  addict.  And 
Wallace  Reid's  verve  and  gaiety 
were  his  chief  assets, 

^^vllace  Reid  was  not  the  only 
drug  addict  in  Hollywood.  There 
have  been  others.  There  are  some 
today.    Not  many.    Not  nearly  so 

(Continued  on  page  97') 


Mabel  Normand,  who  suffered  a 
second  nervous  break-down,  from 
the  shock  caused  by  the  murder 
of  one  of  her  best  and  truest 
friends,  William  Desmond  Taylor. 


Can  an  actor,  once  de- 
throned, ever  resume  his 
place  in  the  public  favor? 
Roscoe  (Fatty)  Arbuckle 
has  found  the  process  a 
long  and  difficult  one. 


ne^Movie  KINDERGARTEN 

The  reason  the  screen  child  is  so  popular  is  that 

it  is  seen  and  never  heard 

By   DOROTHY  DARE 

II  |i  '[  i! :    f-  ■  %'  1   W:\  ^Tp 

_J_  HERE'S  no  race  suicide  in  the  films.  Film 
papas  and  mammas  are  indeed  proving  more  and 
more  prolific  as  the  years  go  by.  Wouldn't  it  just  do 
Teddy  Roosevelt's  heart  good  if  he  could  only  be 
alive  to  see  the  film  families  that  are  springing  up 
everywhere  in  the  pictures. 

There  are  people  who  can  get  along  without  a  kid 
in  the  house  from  one  year's  end  to  another. 

Yet  the  minute  a  child  looms  up  in  a  pic- 
ture, there  isn't  a  dry  eye  in  the  house. 

II  x  real  life  when  our  little  boy  pulls  the 
cat's  tail  and  steals  the  pie  and  pulls  the  chair 
out  from  under  the  poor  old  man,  we  treat 
him  rough ;  but  when  we  see  him  in  a  picture, 
we  just  laugh  ourselves  sick. 

This  must  be  very  confusing  to  the 
film  child  actor  when  he  goes  to  see 
a  picture,  and  hears 
.v~--*",:  .   everybody  laughing 

;  over  his  pranks,  for 


The  angel  child  who 
always  prays  for  his 
papa.  Papa  generally 
needs  it. 


b 


64 


1 


(he  playing  of  which  in  real  life  he 
would  be  spanked  within  an  inch 
of  his  life. 

In  fact,  I've  known  of  Jackie 
Coogan  trying  to  pull  off  some  pic- 
ture comedy  at  home,  and  getting 
properly  sat  on  for  it. 

No  wonder  that  Jackie  looks  on 
work  as  play !  In  pictures  he  can  cut 
up  high,  wide  and  handsome,  and 
everybody  applauds.  But  at  home 
I've  known  him  to  be  scolded  for 
jiggling  up  and  down  in  a  chair! 

No  wonder  he  cuts  loose  in  the 
pictures !  That's  where  he  gets  even. 

Not  that  he  isn't  permitted  to 
play.  He  is.  But  you  know  your- 
self that  the  poor  little  rich  boy  with 
the  governess  and  the  mamma  and 
papa  and  no  brothers  and  sisters 
hasn't  the  chance  of  the  small  boy 
with  no  tremendous  responsibilities 
to  the  worlds  of  art  and  finance. 


o 


Playing  Overtime 


Jackie  Coogan's  Progress 

P^fo  story  of  fiction  in  which  he 
will  ever  appear  can  be  more  fan- 
tastic than  Jackie  Coogan's  own  life. 
In  his  six  years  of  life  he  has  been 
whisked  from  one  of  the  poorest  to 
undoubtedly  the  wealthiest  child 
(from  the  standpoint  of  his  own 
earnings)  in  the  world.  The  story 
of  his  life  reads  more  like  a  fairy 
story  than  anything  he  will  ever 
read. 

Jackie's  parents  had  long  been  m 
vaudeville  and  were  on  the  coast 
with  Annette  Kellerman.  Jackie 
traveled  with  them  and  he  spent 
his  time  back  of  the  curtains  enter- 
taining the  actors  with  his  clever 
little  impersonations.  His  father 
and  Miss  Kellerman  closed  their 
act  with  a  dance  and  one  night  in 
San  Francisco  where  their  act  went 
big  they  received  so  many  encores 
that,  in  pure  desperation  they  caught 
up  Jackie  and  took  him  out  with 
them  to  make  their  bow. 

Jackie's  very  appearance  appealed 
to  the  audience  and  without  any 
prompting  he  did  one  of  his  imper- 
sonations. It  was  such  a  hit  that  he 
was  put  on  as  a  feature  at  twenty- 
five  dollars  a  week. 

They  went  from  there  to  Los  An- 
geles and  Charlie  Chaplin  saw  him 
with  the  result  that  he  signed  him 
for  his  picture  "The  Kid." 

Last  year  Jackie  earned  a  million 
dollars  and  has  just  signed  a  new 
contract  with  Metro  for  which  he 
received  $500,000  cash  and  is  to  get 
sixty  per  cent  of  the  profits  from 
four  pictures  he  will  make. 


nce  in  a  while,  naturally,  a  kid' 
confuses  his  picture  liberties  with 
those  of  real  life.  One  day  Baby 
Peggy,  for  instance,  got  all  balled 
up.  She  had  just  been  mussing  up 
a  pack  of  youngsters  in  a  picture, 
and,  being  strong,  she  kept  it  up 
after  the  scene  was  over.  She  was 
hastily  yanked  into  the  house. 

"Why,  mamma!"  demanded 
Peggy  plaintively,  and  with  logic, 
''everybody  on  the  lot  laughed  when 
I  did  that  in  scene!" 

Baby  Peggy 

Three  year  old  Baby  Peggy  has 
spent  just  half  her  life- in  the  pic- 
tures and  in  that  year  and  a  half 
she  has  made  thirty-seven  pictures. 
She  is  a  natural  little  comedian  and 
when  the  director  tells  her  to  cry  she 
can,  like  Jackie  Coogan,  coax  real 
tears  to  the  surface. 

When  the  child  at  home  cries  the 
family  is  unanimous  in  their  wish 
to  choke  it  and  when  the  screen 
child  cries  everyone  in  the  audience 
is  in  complete  sympathy  with  it. 
Then  you  feel  that  the  dear  little 
innocent  has  a  right  to  weep  barrels 
and  barrels  of  tears,  it  has  been  ter- 
ribly mistreated  while  the  brat  at 
home  cries  for  no  other  reason  than 
a  desire  to  destroy  the  harmony  of 
the  household. 

Richard  Headrick,  too,  a  clever 


little  stunt  swimmer,  sometimes 
trains  right  along  with  Stephen 
Blackpool  in  thinking  that  "the 
world's  a  muddle." 

Little  Richard  manfully  rescued 
his  pet  hen  from  the  water,  one  day 
in  a  picture.  Yet  when  he  wanted 
to  hop  in  next  day  after  two  white 
rats,  with  their  tails  tied  together,- 
that  a  wicked  little  boy  had  tossed 
into  the  tank  at  the  studio,  he  got  an 
awful  scolding ! 

Film  fathers  and  mothers  must 
have  a  nerve-racking  time.  You  can 
never  tell  how  a  film  child,  seen  in 
the  first  reel,  is  going  to  turn  out  as 
to  looks  when  it  is  all  grown  up  in 
the  third  reel.   For  instance,  you 
see  a  child  begin  life  with  a  large 
nose  and  small  eyes.  Yet  when  he 
is  grown  up,  he  doesn't  look  that 
way  at  all.  He  has  a  small  nose  and 
big  eyes.  When  a  child  leaves  home 
a  little  fellow,  and  doesn't  _  come 
home  until  he  is  grown-up,  with  all 
his  features  changed,  his  forehead  a 
different  shape  and  everything,  I 
should  think  he'd  have  to  prove  his 
identity. 

T Sheep  and  Goats 
he  picture  children  are  divid- 
ed into  sheep  and  goats.  No  child 
ever  seems  to  steer  a  middle  course. 
Either  a  child  is  so  good  that  it 
hurts,  or  so  bad  it  ought  to  be  chlo- 
roformed. 

And  whenever  there  is  any  doubt 


John  Fox,  Jr.  and  Baby  Peggy  from  a  scene  in  Little  Red  Riding  Hood. 


65 


in  a  producer's  mind  about  his  pic- 
ture going  over,  he  heaves  in  an 
angel  child  or  else  a  devil  child. 
Either  is  a  good  bet.  The  angel 
child  always  prays  for  its  papa.  I 
must  admit  that  papa  usually  needs 
it.  He  seems  to  have  very  little 
sense,  in  case  he  is  the  hero,  but  to 
be  always  running  into  unnecessary 
danger,  etc. 

The  blonde  children  especially  are 
addicted  to  praying.  I  suppose 
Francis  Carpenter  has  more  prayers 
to  his  credit  than  any  other  child 
actor. 

Yet  in  real  life,  I  can't  imagine 
Francis  sitting  down  to  do  much 
praying,  that  is,  not  when  he  can 
use  his  fists ! 


A, 


Into  Everything 


jj_ tst other  angel  child  is  Philip 
de  Lacy.  Philip  is  a  French  orphan 
child,  rescued  by  a  nurse  during  the 
war  from  a  dugout.  He  is  very  inter- 
esting, very  fascinating,  very  hand- 
some. But  he  is  so  everlastingly  full 
of  pep,  I  think  he  will  probably 
wear  his  devoted  nurse  rescuer  out 
before  her  time. 

The  one  meeting  I  had  with 
Philip  occurred  when  he  first  came 


to  this  country.  He  came  up  to  my 
office,  and  from  the  moment  he  ar- 
rived, his  one  ambition  was  to  dis- 
place me  at  the  typewriter.  That  is, 
until  he  discovered  the  telegraph  in- 
struments. He  was  all  over  the  of- 
fice at  once.  When  nursie  started 
with  him  for  the  elevator,  and  they 
missed  the  descending  cage  he  raised 
up  his  voice  in  wild  lament : 

"Oh,  it's  gone,  it's  gone!"  he 
shrieked,  as  if  it  intended  descend- 
ing to  the  bowels  of  the  earth  and 
never  returning.  He  continued  to 
weep  until  the  elevator  came  back 
and  opened  its  doors  to  him.  The 
last  I  saw  of  Philip,  he  was  trying 
to  help  the  elevator  man  run  the 
cage. 

Yet  there  was  never  a  more 
angelic  child  in  pictures  than 
Philip.  I  dare  say  the  tears  that 
have  been  shed  over  Philip  in  pic- 


tures would  fill  a  little  young 
ocean. 

Wanted  to  Smoke 

"^j^E  all  caught  cold  in  our  own 
tears  over  Pat  Moore  in  "The  Queen 
of  Sheba."  Yet  Pat  just  hankered 
to  be  a  man  and  smoke.  He  came 
off  the  set  one  day  ,  real  tears  stream- 
ing down  his  childish  face,  for  he 
is  a  marvelous  little  actor,  —  and 
Fritz  Leiber,  playing  King  Solo- 
mon, just  rescued  his  beloved  pipe ! 

There  are  the  regular  babies  in 
the  films,  and  then  there  are  the 
stunt  babies,  the  kind  that  patch  up 
incipient  separation  between  mam- 
my and  daddy. 

The  stunt  baby  just  loves  to  worry 
folks  in  the  audience.  He  walks  out 
over  a  precipice, — if  there  is  a  preci- 
pice within  a  thousand  miles,  the 
stunt  baby  will  find  it, — and  as  for 


The  real  pie  for  the  screen  child  is 
the  kind-hearted  old  bachelor.  There 
is  always  such  killing  comedy  with  its 
little  safety  pins  and  what-you-may- 
callums!  In  real  life  he  would  proba- 
bly pick  the  baby  up  with  the  tongs 
and  give  it  to  the  janitor. 


sawmills,  they're  just  magnets  to 
him.  Another  thing  that's  just  nuts 
for  the  stunt  baby  is  to  go  up  in  one 
of  those  tame  balloons,  and  then 
have  somebody  cut  it  loose  from  its 
moorings. 


There  Must  Be  Water 


.  he  regular  babies  confine  them- 
selves to  general  kid  cussedness,  like 
stealing  the  jam  and  busting  the 
good  bid  man's  reading  glasses. 

And  water — there  must  be  water 
in  the  scene.  If  it's  a  nice,  spick  and 
span  ali-dressed-in-white  baby,  it 
just  naturally  has  to  walk  right  into 
a  puddle  of  water  as  soon  as  the 
finishing  touches  have  been  put  on 
it  If  it's  a  dirty  little  orphan  in  the 
picture  it  takes 'its  hat  off  the  minute 
it  enters  the  room  and  the  next 
thins,  is  to  wash  its  face  and  comb 


itself.  You  needn't  get  your  hanky 
out  any  more  when  you  see  a  little 
one  who  has  fallen  out  of  a  third 
story  window  and  is  apparently 
dead.   Ten  to  one  he  isn't.   A  mys- 
terious man,— a  sort  of  Passing  of 
the  Third  Floor  Back  crossed  with 
the  Miracle  Man,  will  always  be  on 
hand  to  lay  his  hands  on  the  little 
one,  and  the  kid  will  oome  to  life 
just  in  time  to  join  the  hands  of  its 
papa  and  mamma,  who  have  been 
scrapping  awfully  and  are  prepar- 
ing to  separate  over  the  grocery  bills 
and  the  way  mamma  goes  out  to  tea 
dansants  and  then  comes  home  just 
in  time  to  give  papa  canned  soup 
for  supper. 

At  times  I'll  confess  we  get  so 
tired  of  the  screen  child  that  we  al- 
most wish  the  cyclone  would  an- 
nihilate him. 

Their  powers  of  recuperation  are 
truly  remarkable  and  with  two  or 
three  bats  of  the  eye  they  are  up 
and  at  'em  again.  The  good  do  not 
die  young  as  they  did  in  Little 
Eva's  time  and  if  she  were  playing 
in  the  movies  today  she  would 
probably  live  to  be  as  old  as  her 
aunt,  Miss  Ophelia,  and  could  come 
back  in  a  later  scene  of  the  same 
picture. 

Plenty  of  Material 


with  and  a  ball  to  toss  in  the  garden. 
But  mostly  the  screen  child  is  poor 
and  lives  in  a  tenement  or  at  best 
in  a  cottage  with  lots  of  green  stuff 
over  the  porch. 

But  I  must  say  that  the  poor 
orphan  screen  child  exercises  the 
utmost  sagacity  in  picking  out  a 
home  for  itself.    If  in  the  country, 
the  screen  children  will  travel  miles 
without  food  or  sleep  until  they 
light  on  a  farmhouse  where  there  is 
an  old  lady  sitting  by  the  window 
knitting.    The  old  lady  is  always 
crabbed  outwardly,  but  really  kind 
of  heart,  and  takes  the  child  in  just 
like  it  was  her  very  own. 


A* 


its  hair.  The  very  duties  it  would 
probably  have  to  be  punished  to 
make  it  perform  in  real  life  it  rushes 
into  in  the  movies.  There  must  be 
water  and  the  movie  baby  and  the 
water  must  manage  to  mix  in  some 
way. 


nr 


They  Save  Them  Now 


Jl  he  child  originally  was  much 
overworked.  He  had  to  steal  the 
papers  and  hide  them  in  the  sofa 
cushion  and  lock  the  heroine  in  the 
vault,  and  do  other  dirty  work.  Now, 
however,  hiding  the  mortgage  and 
purloining  the  letters  is  left  to  the 
monkey  or  the  dog. 

Anyhow,  the  dear  ladies  needn't 
worry.  The  screen  child  is  practi- 
cally indestructible.  They  used  to 
let  the  good  children  die.  Now  they 
bring  'em  back  from  the  very  grave 


^nd  there  is  never  any  lack  of 
condi dates  for  children  to  take  part 
in  the  movies.    Every  time  Jackie 
Coogan  puts  out  a  new  picture  the 
mails  are  flooded  with  letters'  from 
fond  parents  all  over  the  country 
who  have  wonderful  little  brown 
eyed  bovs  who  look  just  like  Jackie 
and  can  do  all  of  his  stunts  and 
would  make  a  wonderful  twin  for 
him,  or  they  have  a  darling  little 
girl  who  could  act  so -well  opposite 
him  and  would  make  a  wonderful 
sister  for  him. 

And  the  same  thing  is  true  of 
Baby  Peggy,  Freckles  Barry  and  all 
the  rest  of  the  child  artists. 

When  all  of  these  children  grow 
up  the  world  is  going  to  be  overrun 
with  clever  screen  stars. 

If  the  fond  parents  of  these  re- 
markable children  had  their  way 
the  schools  would  all  be  abandoned 
and  Hollywood  would  resemble  a 
Boy  Scout  camp. 

The  Poor  Ones  Go  Big 

Sometimes  the  screen  child  is  rich 
and  lives  in  a  house  with  stone  lions 
on  the  lawn,  has  a  birdie  to  pose 


Old  Lady  Goes  Along 

JL  he  Old  Lady  usually  manages 
to  hold  on  to  the  little  urchin  until 
it  falls  heir  to  a  bunch  of  money. 
When  the  haughty  Aunt  finds  the 
poor  little  darling  living  on  water 
and  crusts  in  the  humble  cottage 
and  tries  to  take  him  away  from  the 
Old  Lady,  the  trouble  begins.  It 
always  ends  with  the  Old  Lady  be- 
ing taken  along  and  the  next  time 
you  see  her  she's  on  the  lawn  of  the 
beautiful  estate  all  decked  out  in  a 
new  black  dress  and  a  poke  bonnet, 
while  the  little  one  she  has  saved  is 
dressed  in  a  Fauntleroy  suit  and  is 
feeding  the  swans  in  the  artificial 
lake. 

They  Dote  on  Bachelors 

.But  the  real  pie  for  the  poor 
orphan   screen   child  is   the  old 
bachelor.    If  I  were  a  screen  bach- 
elor, I  should  be  very  careful  about 
venturing  out  on  the  front  porch 
when  I  heard  a  noise  at  night.  And 
while  in  real  life  a  bachelor  would; 
probably  pick  up  a  baby  with  the 
tongs  and  give  it  to  the  janitor,  in 
reel  life  he  always  takes  it  in.  And 
then  there  is  such  killing  comedy 
with  its  little  safety-pins  and  what- 
you-mav-callums ! 


(Q)  f  course  the  directors  may  not 
be  as  enthusiastic  about  the  kids  as 
are  the  producers  and  audiences  and 
the  kids  themselves.  In  fact,  I  heard 
Chet  Franklin  one  day,  when  he  was 
making  a  kid  picture,  exclaim  be- 
tween his  clenched  teeth : 

"Say  I  had  a  chance  to  direct  a 
flock  of  wild  animals  in  this  pic- 
ture, instead  of  this  flock  of  kids  ! 
What  in  the  name  of  the  pink  god 
Billikens  did  I  choose  the  kids 
for?" 

67 


<tAnd  the 

Flapper 


\eeps  on 


Fi 


appm 


By  W.  ELLEN  REAMY 


Fashion's 
edicts  now 
go  out  from 
Hollywood, 

not  from 
Paris.  Stars 
of  the  silver 

screen  set 
the  fashions 
for  flappers 
from  Maine 

to  Texas. 


A  LL  burning  problem  discus- 
f\K    sions  invariably  begin 
AVy    with  a  question  which 
the  writer  hurls  at  a  de- 
fenseless audience  and  then  pro- 
ceeds to  answer  himself,  or  to  admit 
that  it  has  no  answer. 

Question :  Which  is  the  fashion 
leader  of  the  country,  taking  in 
Oshkosh  and  Oskaloosa,  Paris,  Illi- 
nois, and  Paris,  Texas;  New  York 
and  Boston— which  really  controls 
the  wardrobe  of  ninety  per  cent  of 
the  girls  and  women  of  the  United 
States — Paris  or  the  movies? 

Paris  has  reigned  supreme  so  long 
that  she  has  become  insolent,  and 
possibly  careless  of  psychology.  The 
bearded  gesticulators  of  Paquin's, 

68 


Worth's,  and  Lucille's  de- 
creed long  skirts  and  high 
coiffures;  the  high  head- 
dress as  a  sop  to  the  desire 
of  the  infant  vamps  to 
look  like  Nita  Naldi  in 
Blood  and  Sand,  the  long 
skirts  for  economic  rea- 
sons. 

It  was  this  way :  during 
the  war,  cloth  was  at  a  pre- 
mium;   the   looms  were 
busy  making  stuff  for  uni- 
forms.  Fashion  threw  dis- 
cretion to  the  winds  and 
lopped  off  the  ladies'  skirts 
to  her  knees,  baring  adult 
knees  for  the  first  time  in 
decades,  if  we  forget  bath- 
ing suits.    Sun  and  winds 
kissed  the  emancipated 
knees  ;  cosmeticians  de- 
vised special  cold  creams 
and  rouges  to  enhance  the  charms  of 
exposed  limbs.  No  telling  how  many 
hours  Corliss  Palmer  spent  in  doll- 
ing up  her  dimpled  -knees,  the  fa- 
mous knees  that  are  said  to  have 
brought  Eugene  Brewster  to  his 
own  knees  in  admiration.  Think 
what  Parisian  fashions  will  have  to 
answer  for ! 

Long  Skirts  Are  In 

.i^_ND  then,  just  when  the  last 
long-skirted  spinster  of  Belleville, 
Arkansas,  had  made  up ;  her  mind 
to  cut  off  twelve  inches  of  her  skirts 
and  be  fashionable  or  die,  the  edict 
went  out  from  Paris  that  long  skirts 
were  in. 


Was  it  because  long  skirts  are 
more  artistic?  If  so,  the  designers 
of  Paris  admit  to  being  inartistic 
during  the  knee-length  years. 

No,  the  same  motive  that  hiked 
skirts  up  dropped  them  to  the 
ground  and  broadened  therm  into 
regular  circus  tents.  There  was  too 
much  cloth  being  made;  the  mar- 
ket was  glutted.  "Make  the  skirts 
longer,  please  Mr.  Paquin,  so  we  can 
sell  all  this  cloth  we  have  woven," 
pleaded  the  manufacturers. 

TUnbobbing  the  Bob 
he  edict  went  out.  New  York 
was  slow  this  time  to  take  Paris' 
word  for  it.  But  gradually  the 
bobbed-haired,  free-kneed,  joyous 
flapper  was  replaced  by  the  digni- 
fied woman  of  thirty.  Again  New 
York  became  mid- Victorian  in 
dress.  Fifth  Avenue  and  Broadway 
were  thronged  with  stately,  slow- 
moving  women,  swathed  in  black 
draperies  their  height  augmented 
by  towers  of  artificial  hair,  com- 
pletely unbobbing  the  bob. 

It  was  awfully  hard  on  the  little 
towns.  The  girls  were  torn  between 
two  desires— to  follow  the  latest 
fashion  and  to  copy  their  screen 
heroines.' 

For— it  is  highly  significant  that 
the  movies  did  not  follow  the  fash- 
ions. The  flappers  of  the  screen 
went  right  on  flapping  their  bobbed 
locks  and  kicking  up  their  blithe, 
free  legs,  unhampered  by  yards  of 
drapery. 

Thus  the  first  big  battle  between 


What  shall  it  profit  the  flapper  that 
her  gown  is  the  latest  from  Pans,  if 
with  her  short,  saucy  skirts  and  brogues 
she  has  shed  also  her  girlish  appeal? 
Flappers  are  flappers  and  vamps  are 
vamps,  ar.d  never  the  twain  shall  meet! 


fashions  from  Paris  and  fashions 
from  Hollywood  was  joined. 

Paris  reports  decisive  victories  in 
New  York,  Los  Angeles,  Boston, 
San  Francisco,  Philadelphia:.  But 
Hollywood  is  sweepingly  victorious 
in  practically  every  small  town  in 
the  country.  During  the  winter  the 
girls  made  concessions  to  fashion 
from  Paris,  by  pinning  on  side 
pieces  to  their  bobbed  hair  for 
"dress  up"  occasions,  aod  by  mak- 
ing one  of  the  three  new  frocks 
long. 

But  when  Patty  Brown  of  Plain- 
view,  New  Mexico,  went  to  the 
movies  and  saw  Shirley  Mason  in 
"The  New  Teacher,"  wearing  just 
as  short  dresses  as  fast  winter;  saw 
Dorothy  Gish  in  "The  Country 
Flapper"  joyously  flapping  her 
way  in  knee  skirts  and  bobbed  hair, 
Patty  looked  down  with  distaste  up- 
on her  "long,  draped  skirt,  showing 
the  Spanish  influence"  and  heaved 
a  sign  of  chagrin  and  bewilderment. 
Hollywood  had  won  another  battle. 
Patty  went  back  to  short  skirts  and 
the  joy  of  imitating  Dorothy  Gish. 

.     Tney  Imitate  tne  Movies 

Jl  he  secret  of  it  all  is  that  almost 
'  ^every  girl  and  woman  in  the  United 
States  is  a  motion  picture  fan,  and 
hence  an  imitator.  Clerks,  wait- 
resses, stenographers,  school  girls, 
debutantes,  all  have  a  common  am- 
bition— to  look  like  Mary  Pickford, 
or  Dorothy  Gish  or  May  McAvoy. 
They  are  so  darn  cute  ! 

Yes,  cute  !  There  is  no  bigger 
drawing  card  in  the  motion  picture 
game.  A  girl  does  not  have  to  be 
beautiful  —  Dorothy  Gish  is  not 
beautiful.  But  let  her  be  "cute," 
the  kind  of  cuteness  that  steps  right 
off  the  screen  and  chucks  you  under 
the  chin — and  that  girl  can  have 
any  clause  she  wants  above  the 
dotted  line. 

From  every  corner  of  the  United 
States  came  the  query,  "Why  don't 
the  girls  in  the  movies  follow  the 
fashions?"  It  would  have  solved 
the  American's  girl's  problem  so 
nicely !  If  May  McAvoy  had  dressed 
her  hair  high,  and  draped  her  an- 
kles in  five  yards  of  black  crepe 
and  put  blue  under  the  eyelashes, 
and  toned  down  the  childish  vivac- 
ity of  her  manner  as  she  would  have 
had  to  do  to  be  in  character  in  the 
fashionable  clothes  decreed  by  Paris 
— she  would  have  lost  her  appeal. 
The  producers  knew  it,  They  buzzed 
70 


about  a  big  table  in  a  directors' 
meeting,  bald-headedly  and  serious- 
ly discussing  bobbed  and  frivolous 
heroines, 

Every  producer  holding  a  con- 
tract with  a  flapper — the  most  popu- 
lar animal  of  1921-22,  held  just 
such  a  conference  with  his  direc- 
tors, and  the  edict  went  forth: 

"Keep  the  flapper.  She  is  popu- 
lar, in  the  provinces.  We  kill  her 
value  if  we  dress  her  up  to  look 
like  a  jazzed  version  of  Queen  Vic- 
toria, Keep  the  flapper,  and  make 
'em  forget  Paris." 


Hollywood  vs.  Paris 

^)0 — that  Mary  Miles  Minter, 
Wanda  Hawley,  Constance  Binney, 
Bebe  Daniels,  May  McAvoy,  Gladys 
Walton  Clara  Horton,  Madge  Bell- 
amy, Doris  May,  Dorothy  Gish  and 
the  rest  of  the  screen  flappers  might 
live  long  and  prosper,  Hollywood 
as  a  fashion  center  joined  battle 
with  Paris  as  a  fashion  dictator — 
and  won ! 

But  are  the  movies  going  to  boast 
of  their  victory?  No,  no.  They 
are  going  to  conceal  it  under  a 
mass  of  words,  to  pamper  the  illu- 
sion that  the  motion  picture  stars 
are  living  models  for  Paris  mo- 
distes. The  girl  who  copies  the 
^clothes  of  Shirley  Mason  and  Gloria 
Swanson  are  to  be  kept  serene  in 
the  belief  that  they  are  also  copy- 
ing Paris  faithfully. 

Producers  Found  Willing 

When  the  flapper  craze  swept 
over  a  war-weary  world,  it  was  easy 
for  the  movies  to  stride  in  step  with 
Paris.  The  flapper  costume  solved 
a  real  problem  of  the  studios — how 
to  dress  the  baby  stars  so  as  to  bring 
out  every  ounce  of  their  cuteness 
and  huggability.  So  with  much  joy 
the  producers  went  in  for  flapper 
styles,  which  meant  that  the  in- 
genue stars  had  to  shorten  their 
skirts  only  a  little  more  than  they 
had  been  wearing  them,  and  that 
bobbed  locks  could  replace  long 
curls  and  hair-ribbons. 

The  producers  could  chant  with 
perfect  sincerity  their  little  song 
about  always  being  six  months 
ahead  of  the  fashion,  hence  a  cri- 
terion for  small  towns  to  go  by. 
The  movies  were  two  or  three  years 
in  advance  of  the  flapper  fashion, 
for  ingenues  have  always  been  short- 
skirted  and  childishly  coiffed.  In 


fact,  the  American  flapper  was  a 
direct  result  of  the  ingenue  star 
system,  aided  and  abetted  by  Paris' 
desire  to  conserve  cloth. 

L.  M.  Goodstadt,  casting  director 
at  Paramount's  west  coast  studio, 
has  this  to  say  to  Screenland  about 
movies  and  the  fashions: 

"This  studio  will  do  in  the  fu- 
ture as  it  has  done  in  the  past — 
namely :  keep  not  only  up  with  the 
styles,  but  ahead  of  them.  Inas- 
much as  pictures  on  the  average 
are  released  about  six  months  after 
the  start  of  production  on  them,  the 
fashion  creators  at  motion  picture 
studios  must  be  so  thoroughly  in 
touch  with  the  trend  of  fashions 
they  can  keep  well  ahead  of  them. 
The  fashions  worn  by  Paramount 
stars  will  be  in  keeping  with  good 
style,  and  also  in  harmony  with 
the  personality  of  the  wearer  and 
with  the  thought  always  in  mind 
that  good  taste  is  of  prime  impor- 
tance. 


Alway 


Tniways  a  Flapper 
here  will  always  be  the  flap- 
per in  motion  pictures,  just  as  there 
is  in  everyday  life.  She  may  have 
a  different  name,  may  wear  her 
skirts  short  or  she  may  wear  them 
long,  but  she  is  the  flapper  never- 
theless. Styles  cannot  change  hu- 
man nature.  They  cannot  make 
all  women  of  one  type,  and  so  you 
will  see  just  as  many  types  on  the 
screen  in  the  future  as  you  have 
seen  in  the  past," 

That  last  tells  the  story— from 
the  motion  picture  producer's  stand- 
point. Types  will  be  types,  and 
you  must  dress  the  star  to  suit  her 
type.  May  McAvoy  in  trailing 
skirts  and  high  headdress  would  be 
ridiculous.  Little  Miss  Flapper  of 
Cleburne,  Texas,  would  be  equally 
ridiculous. 

It  does  seem  as  if  the  movies  will 
do  what  haranguing  ministers, 
prim  prudes  and  worried  mothers 
have  never  been  able  to  do — inject 
reason  into  fashion.  Never  again 
will  every  woman  in  America  ap- 
pear at  Easter  in  a  Merry  Widow 
hat,  as  did  every  Easter-bonnet 
wearer  of  twenty  years  ago.  For 
some  fans  will  be  following  Gloria 
Swanson,  some  Betty  Blythe,  some 
Viola  Dana  some  will  swear  eternal 
allegiance  to  Norma  Talmadge — all 
type-ing  along  in  their  own  little 
typical  w?ays. 


MB 


Posed  Tiy 


RAMON   NAVARRO   AND  VIRGINIA  BROWN 


Omar 


"Romance  in  the  ^Movies 

^^—2  t, ...  t7„,.j7,  ^^,^7  TionAit.il  and  Romance 


X 


.Gone  are       ancient  cities 
That  once  gemmed  the  eastern  seas; 
Perished  the  wealth  of  Croesus 
And  the  craft  of  Pericles. 


But  Youth  and  Beauty  and  Romance 
Still  weave  their  ancient  spell, 
As  in  the  days  when  Sappho  sang 
And  Helen  loved  too  well. 


JLLhE  motion  pictures  are  about  Cook  knows  what  a  larg g^/own  lone  state  for  a  while, 

theTnly  place  today  where  Youth  of  the  public  craves  to  see  when get  ^ 

and  Beauty  and  Romance  have  a  pays  its  fifty-five  cent,  at  imagining  herself  m  the 

.    ot-.q11       ThP  ntllPft   WinClOW.  ,  ~  i  •     _     TVin  mnnp  nlini'- 


chance  to  weave  their  spell.  The 
foul  fiends  hold  the  hands  of  these 
producers  who  would  substitute  for 
them  age  and  realism  and  artistic 

ugliness. 

The  public  doesn't  want  realism. 
Nor  does  it  want  to  be  educated,  it 
would  seem.  No  producer  can  guess 
what  everybody  wants  every  time. 
But  the  producer  who  finds  out 
what  the  public  does  want  most  of 
the  time  is  Fortune's  favorite  and 
has  Aladdin's  tame  genii  of  the 


entino,  imagining  herself  in  the 
place  of  the  heroine.  The  poor  char 

I:    j-  +  +kq  imnrp?    woman  who  sees  her  screen  counter- 
'^r^nt  t„leXPated  part  come  into  a  large  fortune  get, 
aon  that  people  want  to  be  edueatea  v  ^  knowmg 


a  lot  of  pleasure  out  of  knowing 
that  even  one  woman  who  slaved 
for  a  living  finally  got  out  of  it  all. 

The  critics  may  talk  until  they 
are  hoarse  about  the  gooie-ness  of 
sentimental  love  stories  and  long 


when"  they"  go  to  the  movies  We 
don't  We  want  to  be  amused  and 
entertained.  We  want  to  forget 
hard  times  and  suffering.  We  want 
to  see  sweet,  loving  stories  with 

happy  endings.  Then  we  go  home  ^  fe 

feeling  better  and  anxious  to  attend  ^  attention  to  the  critics 

has  Maaatn,  ta.,,0  genn  o,   ,e  "S^--   ^  X^ZJt*  »  ^ 


)roken  Blossoms  was  a 


great 


What  does  the  public  want?  Miss  on  the  sc   en.   W e  ^        a  beautiful  picture.  Bu 

E.  S.  Cook,  of  Montgomery,  Ala-  pleasure  out  of  the  lux un * ft  was  a  financial  failure,  because  it 

bama,  thinks  she  knows.    There  by  our  film  heroines,  she  declares.  (Continued  on  page  m.) 

seems  to  be  little  doubt  that  Miss  And  she  is  right.  71 


Is  Rodolph  Valentino 

of 

What  the  stars  predict  for  Valentino, 


.ODOLPH  VALENTINO 

has  been  called  the  "great  lover"  of 
history.  His  worshipers  among  the 
fans  have  hailed  him  as  the  mascu- 
line prototype  of  Cleopatra,  of 
Sappho,  of  Camille. 

But  what  say  the  stars  about  it? 

Rodolph  Valentino  is  not  the 
"great  lover"  of  history,  the  con- 
stellations say. 

But  the  adoring  sex  need  not  suf- 
fer; Rodolfo  would  make  a  won- 
derful sympathetic  healer,  curing 
the  love-lorn  by  mere  massage  or 
the  laying-on  of  hands. 

Rodolph  will  always  be  supreme 
among  the  women,  for  besides  hav- 
ing looks  and  limbs  and  everything, 
he  possesses  a  marvelous  vibratory 
power  that  he  can  use  at  will.  It 
was  the  good  old  sun  of  Italy  rising 
in  the  east  with  Mercury  that  did 
that  for  Rodolph.  Isn't  it  astound- 
ing what  the  climate  can  do ! . 
i  Valentino's  horoscope  shows  that 
he  is  a  regular  cave  man.  Most 
Taurus  gentlemen  are.  As  for  the 
various  ladies  who  will  share  that 
cave  with  him  (for  the  planets  show 
that  his  matrimonial  career  will 
come  in  serials),  our  sympathy  to 
them,  for  they  will  never  hold  their 
tenancy  long.  There  is  a  time  limit 
even  to  the  leasehold  of  a  cave,  it 
appears. 

Rodolph  will  live  to  a  good  old 
age,  but  he  will  pass  out  earlier  than 
necessary  if  he  does  not  take  steps 
to  prevent  stagnation  of  his  mag- 
netism. A  few  simple  exercises  will 
do  it,  and  no  gentleman  should 


in 

7° 

"Valentino's  horo- 
scope shows  that  he 
is  born  under  the 
sign  of  Taurus  and 
is  a  regular  cave 
man.  The  various 
ladies  who  will  share 
his  cave  with  him 
(for  the  planets  show 
that  his  matrimonial 
career  will  be  a 
colorful  serial)  will 
never  hold  their  ten- 
ancy long." 


allow  stagnation  of  his  magnetism. 

The  dashing  hero  of  Blood  and 
Sand  was  endowed  at  birth  with 
money-getting  faculties.  In  fact, 
he  has  the  same  combination  of 
planets  in  his  second  house  as  Jay 
Gould.  Venus  and  Jupiter  there, 
trine  to  the  moon,  are  portents  for 
great  wealth,  although  the  position 
of  Mars  in  the  third  takes  the 
money  away  almost  as  fast  as  he 
makes  it.  The  aspects  of  the  moon 
and  Mars  show  great  spending 
capacity,  but*  the  planets  ruling 
Avealth  show  that  he  has  a  mind 
intent  on  money  matters  and  cau- 
tious of  his  interests. 

Must  Watch  His  Step 

odolfo  should  look  askance 
upon  the  flowing  bowl.  In  fact,  it 
might  be  just  as  well  if  he  didn't 
look  upon  it  at  all,  owing  to  the  con- 
junction of  Jupiter  with  Mars  in  a 
watery  sign,  and  to  the  propinquity 
of  Saturn  and  Uranus.  Even  the 
most  enamored  film  follower  would 
shrink,  from  a  Rodolfo  with  a  vi- 
nous nose. 

Alas!  these  movie  actors — they 
simply  can't  get  married.  Or 
rather,  they  so  easily  can,  and  that's 
where  the  trouble  lies.  There  has 
not  been  a  histrionic  horoscope  yet 
cast  for  Screenland  in'  which  the 
omens  are  favorable  for  matrimony. 
Rody's  is  no  exception.  Uranus  in 
the  seventh  and  Saturn  near  by 
make  the  divorces  come  thick  and 
fast;  yet  with  such  a  loving  dispo- 


By  Trismegistus, 


f-ition,  what  is  a  poor  cave  man 
going  to  do? 

Even  his  second  marriage  will 
founder,  say  the  heavens,  because 
Uranus  is  in  opposition  to  the  sun. 
Our  private  astrologer  shakes  his 
silver  locks  and  solemnly  declares 
that  Rodolph  would  be  better  off 
unwed.  Won't  flappers  please  take 
note  and  let  poor  Rodolph  alone? 

He  will  be  luckiest  with  wives 
born  between  August  22  and  Sep- 
tember 21,  December  21  and  Janu- 
ary 21,  or  October  21  to  Novem- 
ber 21. 

Fond  of  High  Living 

Valentino  is  born  under  the 
sign  of  Taurus,  which  gives  him  a 
determination  much  needed  to  battle 
a  difficult  horoscope.  Taurus  rising 
and  the  sun  in  a  fixed  sign  make 
him  bull-headed,  quiet,  unobtrusive, 
patient,  subject  to  fits  of  sadness, 
slow  to  anger  but  furious  when  en- 
raged, and  very  fond  of  high  living. 

He  has  one  serious  fault  to  over- 
come. The  sun  and  Taurus  in 
opposition  to  Uranus  make  him  so 
stubborn  and  strong-willed  as  often 
to  stand  in  his  own  light  and  hinder 
his  own  advancement.  If  he  wishes 
to  rise  he  should  not  be  so  self- 
opinionated. 

Is  Rudy  one  of  those  spiritual 
lovers  you  read  about  in  the  Ladies' 
Home  Journal?  Not  according  to 
the  stars.  They  say  that  he  is  a 
great  big,  splendid  animal,  full  of 
passion,  magnetism,  and  virility; 
and  furthermore  that  every  time  a 
good  aspect  comes  around  he'll  have 
a  love  affair.  As  Venus  forms  a 
nice  new  aspect  every  sixteen 
months  and  the  moon  every  eight, 
Rudy  need  not  be  lonely  longi 

If  Valentino  will  but  follow  his 
stars,  he  can  save  himself  thousands 
of  dollars.  He  should  not  com- 
mence his  law-suit  with  Famous 
Players-Lasky  before  May;  if  he 
does,  it  is  sure  to  go  against  him. 


72 


the  Greatest  Lover 

History 

Gloria  Swanson  and  Jackie  Coogan 


XT  I 


15° 


25° 


Junior 

But  if  he  goes  to  court  somewhere 
between  Mav  and  August  he  will 
have  much  better  results.  As  Sat- 
urn is  in  conjunction  with  the 
moon  in  the  sixth  house,  he  will 
have  to  law  his  way  through  life. 

The  sun  rising  in  Taurus  affects 
the  throat  and  tonsils,  and  may  he 
serious  in  later  life,  as  the  sun  is 
afflicted.    He  is  born  under  a.  land 
sign,  which  makes  it  possible  for 
him  to  invest  in  land;  but  Taurus 
people  are  best  in  amusements  or 
pleasures.    The  planets  in  the  as- 
cendant, give  fortune  on  the  stage, 
but   popularity    will    be    lost  on 
account  of  planets  being  badly  pos- 
ited   His  popularity  will  be  greater 
in  middle  life,  for  the  stars  will  by 
then  have  reversed  positions  and  be 
rising. 

Poor  Rodolph  has  been  going 
through  a  hard  winter.  Danger 
threatened  his  health.  From  May 
to  August  will  be  much  better,  but 
September  is  bad.  October  to  De- 
cember will  see  a  great  improve- 
ment, and  a  love  affair  is_  even 
prophesied  on  account  of  Jupiter  in 
the  seventh.  This  lady  won't  last 
long,  however,  in  spite  of  Rodolph  s 
healing  talents. 

The  East  for  Rudy 

He  should  not  live  in  the  west, 
because  Saturn  squares  Jupiter  and 
Mars.  That's  why  the  district  attor- 
ney got  busy  when  Rodolph  com- 
mitted matrimony  in  Mexico. 

The  year  1924  and  the  early  part 
of  1925  will  be  bad.  In  the  fall  of 
the  latter-  he  will  be  in  danger  of 
losing  a  relative.  Saturn  will  be 
passing  through  the  house  of  mar- 
riage at  that  time,  and  if  Valentino 
has  a  wife  then  she  will  also  prob- 
ably pass  through  it. 

But  1928  and  1933  will  be  fortu- 
nate. If  he  is  single  then,  he  is  apt 
to  take  another  fling  at  Hymem 

The  moon  aspecting  Venus  gives 
him  many  fine  and  gentle  qualities, 


Gloria  Swanson's 
best  bet  in  husbands 
will  be  those  whose 
birthdays  fall  be- 
tween the  dates  of 
September  21  and 
October  21,  July  21 
and  August  22  and 
November  21  and 
December  21.  The 
planets  seem  to  give 
her  husbands  that 
are  violent,  critical 
and  hard  to  please. 


and  endows  him  with  good-looking 
and  affectionate  wives.    One  at  a 
time,  of  course.    This  aspect  makes 
him  beloved  of  the  feminine  sex, 
and  Taurus  does  the  rest.    He  can 
be,  faithful,  too,  if  he  wants  to.  As 
Venus  is  in  conjunction  with  Nep- 
tune, and  the  moon  applies  to  the 
conjunction  of  Saturn  and  Uranus 
in  the  seventh  house,  there  may  be 
times  this  year  when   he  won't 
want  to. 


VTTT 

n  / 

20? 


qp 


15° 


And  Now  About  Gloria 

G 

loria  Sw anson,  while  a  per- 
fect lady,  has  her  primordial  im- 
pulses, too,  according  to  the  lay  of 
her  stars.    The   sun,   moon  and 
Jupiter  in  fiery  signs  are  an  indica- 
tion of  forceful  passions  and  an 
ardent  nature.    It  is  these,  together 
with  five  planets  in  cardinal  signs, 
that  give  her  such  a  fascination  for 
men.     Uranus  in  Scorpio  in  the 
eleventh  house,  however,  may  cause 
her  charms  to  wane  in  middle  life. 
'  Gloria  is  fated  to  fall  for  men  of 
a  peculiar  physical  condition,  owing 
to  having  Neptune  in  her  seventh 
house  when  she  should  have  shut 
the  door.    The  stars  portend  that 
her  loves  will  be  either  much  older 
or  much  younger  than  she,  and 
handicapped  by  defects  of  the  body. 
What  the  particular  defects  are  that 
catch  her  fancy  is  not  outlined  by 
her  horoscope,  but  it  does  say  that 
her  husbands  (how  we  do  fall  into 
the  habit  of  plurals,  in  writing 
about  the  movie  stars!)  will  not  be 


good  providers;  and  most  women 
will  agree  that  that  is  defect  enough. 

Gloria  will  have  to  wait  until  she's 
forty  or  forty-five  to  get  the  full 
bloom  of  the  good  ending  that  fol- 
lows her  poor  beginning,  for  owing 
to  the  dejected  position  of  the  plan- 
ets at  her  birth,  her  early  life  has 
been  full  of  struggles,  difficulties  and 
privations.  But  Jupiter  in  the  fourth 
house,  the  moon  in  conjunction  to 
Jupiter  and  the  sun,  will  eventually 
give  her  wealth,  although  she  will 
always  have  to  tread  cautiously, 
Saturn  in  the  tenth  house  being  a 
risky  position  for  work  and  profes- 
sion, threatening  both  her  honor 
and  reputation.    Saturn  is  liable  to 
break  loose  in  Gloria's  horoscope 
most  any  day. 


Imagine  a  Fat  Gloria 

Gloria  should  be  good  and  not  let 
herself  be  a  greedy  girl.    Venus  in 
the  sixth  house,  while  strengthen- 
ing the  constitution,  causes  sickness 
through  overindulgence,  and  more- 
over, people  with  Jupiter  in  con- 
junction Math  their  moon  always 
have  fatness  staring  them  in  the 
face;  and  how  could  Gloria  emote 
through  two  hundred  pounds  of 
flesh? 

The  heroine  of  the  Burns  will 
case  is  equally  fortunate,  if  not 
more  so.  For  one  thing,  she  is  too 
hasty,  headstrong,  self-willed  and 
impulsive.  For  another,  the  sun 
and  moon  squared  to  Mars  give  her 
husbands  that  are  violent,  critical, 

73 


rising.  Planets  under  the 
horizon  cause  her  to  be  de- 
nied many  opportunities  in 
early  life,  and  she  is  fated  to 
have  many  setbacks  until 
future  years.  The  force, 
energy  and  impulse  imparted 
by  Mars  rising  are  decidedly 
needed  by  her  to  overcome 
the  disappointment  of  frus- 
trated hopes  and  wishes,  and 
the  falling-through  of  the 
plans  and  schemes  she  is  con- 
stantly evolving. 


Let  s  Hope  Not, 
Gloria 


I: 


Jackie  Coogan  has 
a  splendid  horoscope, 
predicting  a  brilliant 
and  successful  career. 


and  hard  to  please.  The  configura- 
tions show  that  she  had  a  love  affair 
in  the  winter  of  1922:  and  the  sun 
in  trine'  to  Mars  in  the  spring  and 
summer  of  1923  will  draw  her  to 
an  impulsive  man— but  astrology 
warns  her  to  beware  of  these  hot- 
headed people. 

Gloria's  best  bet  in  husbands  will 
be  those  whose  birthdays  fall  be- 
tween .,  the  -  dates  of  September  21 
and  October  21,  July  21  and  Au- 


F  Sam  Wood  is 
wise  he  will  have 
her  insured  at 
once,  for  the  chart 
portends  an  acci- 
dent to  her  knees 
that  will  leave  a 
scar;  and  what  is 
a  film  actress  with 
a  blemished  knee? 
Besides  this  Gloria 
will  have  trouble 
with  her  head, 
eyes,  kidneys  and 
stomach ;  outside 
of  that  her  health 
will  be  good,  as  the 
sun  and  moon  are 
in  .  con  j  unction 
with  Jupiter. 

Mars  in  the 
cusp  of  the  house 
of  finances  gives 
her  a  good  earning 
cap  a  -city,  b  u  t 
money  slips  away, 
through  Mars  be- 
ing squared  to  the 
sun,  m  o  o  n,  and 
Jupiter. 

Gloria  should  always  insure  her 
property,  for  she  is  in  danger  of 
losses  by  fire. 

Public  work  is  her  best  line,  but 
she  has  to  struggle  for  everything 
she'  gets.  She  loves  to  advise  and 
reform,  and  (Mars  aspecting  Uran- 
us), is  fond  of  travel. 

She  will  not  have  many  children, 
but  those  she  has  will  be  active. 
The  freedom  that  she  displays  in 
dress  is  caused  by  the  moon  con- 


gust  22,' November  21  and  Decern-  joining  Jupiter  and  the  sun,  and 

ber  21;  but.  even  at  that  she  won't  squaring  Mars.    This  is  a  valuable 

keep  her  third  one  long.  .  hint  for  dressmakers; 

Gloria  Swanson  falls  .  under  the       The  stars  show  that  for  some  rea- 

rule  of  Jupiter,  and  has  Sagittarius  son  or  other,  Gloria  prefers  men  to 


girls,  and  they  seem  to  show  a  pref- 
erence for  her,  especially  the  mid- 
dle-aged or  young  ones. 

This  winter  and  on  into  April  is' 
good  for  health  and  work  (Jupiter 
being  in  the  twelfth) ,  and  will  lead 
to  strange  and  secret  journeys  of  a 
peculiar  nature,  eventually  bring- 
ing good  out  of  evil.  But  Saturn 
makes  a  transit  of  the  house  of 
honor  this  year,  and  Gloria  had  bet- 
ter ride  slow,  with  all  the  danger 
signals  set,  and  a  warning  lantern 
in  the  rear.  It  wouldn't  do  for  a 
nice  little  *lady  like  Gloria  to  get 
tangled  up  in  Saturn's  transit. 

Lucky  Jackie  Coogan 

JJ ackie  Coogan  functions  on  a 
higher  plane  than  either  V alentino 
or  Gloria.  Aquarius  rising,  and  the 
majority  of  his  planets  above  the 
earth,  give  him  great  prospects  for 
the  future  and  many  talents  and 
gifts.  Uranus  rising  makes  him  an 
advanced  thinker,  unique  in  his 
cerebrations,  and  therefore  not  al- 
ways understood.  Mamma  Coogan 
had  better  not  let  him  see  this. 

The  most  fortunate  thing  in 
Jackie  Coogan's  nativity  is  Jupiter 
and  the  moon  rising  in  conjunction, 
which  will  make  him  popular  and 
give  him  honor,  success  and  wealth. 
But  as  these  also  conduce  to  vanity, 
someone  had  better  take  steps  now 
to  keep  his  ego  from  getting  too 
advanced. 

Speaking  of  avoirdupois,  Jackie, 
though  not  born  to  it,  will  certainly 
have  it  thrust  upon  him,  for  the 
stars  have  picked  out  a  nice,  corpu- 
lent blonde  wife  for  him  all  ready 
and  waiting  to  serve.  And  the  tem- 
per that  lady  will  have !  The  only 
consolation  is  that  she  will  give  way 
soon  for  a  younger  and  slenderer 
one. 

Uranus,  the  planet  of  occultism, 
is  Jackie's  ruler,  and  makes  him 
fond  of  the  mystic.  He  will  travel 
much  because  of  having  several 
planets  in  the  ninth  house  'in  a 
watery  sign,  and  will  transact  much 
business  abroad.  ■'■  But  the  sun, 
Mars,  Mercury  -and  Saturn  in 
watery  signs  give  dangers  by  poison 
and  water,  and  he  should  be  careful 
never  to  drown.  Location  directors 
kindly  take  heed.  ; 

Venus  in  the  tffith  is  fine  for 
public  work,  amusements,  pleasure 
and  the  theatre.  -He  will  have 
much  success  in  business  connected 


74 


p 


with  women,  as  they  will  always  favor  him.  Jackie 
will  get  along  well  with  old  people,  and  (he  sun  be- 
ing in  trine  to  Saturn,  he  will  he  lucky  with  liquids, 
with  the  watery  element,  land,  houses,  or  real  estate. 

The  sun  squared  to  Uranus  and  in  conjunction 
with  Mars  and'  leaving  Neptune,  does  not  bode  well 
to  the  father.  More  will  be  heard  of  this  in  five  years 
and  when  Jackie  is  seventeen. 

Will  Have  G  ood  Friends 

Troubles  of  the  liver,  kidneys,  bladder,  circula- 
tion, blood,  throat,  and  eyes  are  prognosticated  in 
this  chart ;  but  the  moon  in  conjunction  with  Jupiter 
will  benefit  his  health.  It  also  gives  good  friends, 
although  Uranus  in  the  twelfth  makes  secret  enemies 
and  threatens  him  with  false  imprisonment.  With 
Uranus  in  the  house  of  children  it  is  unlikely  that 
Jackie  will  have  any  heirs. 

Three  planets  in  Aquarius  make  it  good  for  resi- 
dence in  Southern  California,  and  he  should  always 
live  here*  On  the  whole,  this  is  a  splendid  horoscope 
and  predicts  a  brilliant  and  successful  career.. 

Little  Jackie  has  an  advanced  ego.  No,  it  won't 
have  to  be  cut  out ;  it's  merely  a  flattering  term  used 
by  occulists  to  express  a  high  type  of  mentality. 

Jackie's  is  the  only  one  of  these  three  horoscopes 
with  wholly  bright  and  beneficent  prospects.  Both 
Valentino  and  Gloria  Swanson  were  born  with  their 
planets  under  the  earth,  and  poor  Gloria  even  has 
two  malefics  waiting  above  the  earth  for  her  to  rise. 


W 


TfV  m 

24"  O 


The  stars  have  picked  out  a  nice, 
corpulent  blonde  wife  for  Jackie 
Coogan.  And  the  temper  that  lady 
will  have!  The  only  consolation  for 
Jackie"  is  that  she  will  soon  give  way 
for  a  younger,  more  slender  wife. 


IV hat  the  Stars  Are  Doing 


aramount,  which  has  formerly 
included  Walter  Iliers  in  a  number, 
of  their  casts,  have  now  made  him 
a  star  and  are  to  feature  him  in  a 
new  show  which  is  to  be  released 
soon.  Jacqueline  Logan  is  to  play 
opposite  Walter. 


A, 


.elan  Dwan  is  now  engaged 
in  the  production  of  "Glimpses  of 
the  Moon,"  which  he  is  shooting  at 
the  Long  Island  Studios  of  the  Fa- 
mous Players,  with  some  of  the 
scenes  in  Canada  and  others  in  Flor- 
ida. The  cast  includes  Nita  Naldi, 
Bebe  Daniels,  Maurice  Costello, 
Rubye  de  Remer,  David  Powell  and 
Charles.  Girard. 


Mario  Majeroni  is  about  complete. 
Alan  Grosland,  who  has  been  di- 
recting the  picturization,  took  most 
of  this  company  abroad  to  shoot  cer- 
tain exteriors  in  Monte  Carlo,  Nice, 
Paris,  and  along  the  Riviera. 


josmopolitan's  production  of 
Vicente  Blasco  Ibanez's  "Enemies 
of  Women,"  with  a  cast  including 
Lionel  Barrymore,  Alma  Rubens, 
Pedro  De  Cordoba,  Buster  Collier. 
Gareth  Hughes,  Gladys  Hulette, 
W.  H.  Thompson,  Paul  Panzer  and 


E. 


/rich  Von  Stroheim  was  re- 
leased from  Universal,  leaving  the 
"Merry-Go-Round"  half  completed. 
Rupert-  Julian  has  the  job  of  com- 
pleting the  picture.  Von  Stroheim 
is  to  be  featured  by  Goldwyn  in  the 
Frank  Norris  story,  "McGeague." 

M  ary  Pickford  has  secured  the 
services  of  Herr  Lubitsch  from 
Paramount  to  direct  her  forthcom- 
ing presentation  of  "Dorothy  Ver- 
non of  Haddon  Hall." 


I 


vor  Movello,  a  well  known  Eu- 
ropean actor  and  composer,  has  been 
selected  by  D.  W.  Griffith  to  play 
the  male  lead  in  his  new  southern 
photo  story,   "The  White  Rose," 


which  they  are  preparing  to  pro- 
duce. Carol  Dempster  and  Mae 
Marsh  share  honors  in  the  feminine 
role. 

Hn  zeno,  a  mystery  thriller  of  the 
speaking  stage  which  is  now  entour 
picture  fans  will  recognize  a  num- 
ber of  screen  favorites  in  the  flesh. 
Coincidence  has  brought  them  to- 
gether in  the  cast  of  this  latest 
"spook"  play. 

James  Crane,  George  Nash  and 
Effie  Shannon  are  well  known  in 
motion  pictures. 

Screen  fans  know  James  Crane  as 
the  former  husband  and  co-star  of 
Alice  Brady.  His  last  picture  was 
"The  Dark  Lantern,"  made  with 
Alice  Brady  two  seasons  ago  at  the 
Essenay  studio.  George  Nash  played 
an  important  role  in  "In  the  Fog," 
one  of  the  big  pictures  of  the  year. 
He  was  also  in  the  cast  of  "When 
Knighthood  Was  in  Flower,"  play- 
ing the  part  of  the  adventurer  in 
the  inn  scene.  Miss  Shannon  is  on 
the  screen  in  "Sure  Fire  Flint," 
with  Robert  Edeson,  Doris  Kenyon 
and  Edmund  Breese. 


Qlllli) 

from  EsoMSfwaxoa® 


RETURN  OF  THE 
PRODIGALS 

Part  of  the  duty  of  the 
Los  Angeles  mayor  is 
to  welcome  returning 
screen  stars.  Here  we 
see  Acting  Mayor  Cris- 
well  bearing  up  brave- 
ly under  the  burden  of 
welcoming  the  Tal- 
madge  girls  back  to  the 
old  home  towiij  after 
their  European  tour. 
Left  to  right,  Natalie 
Talmadge  Keaton  and 
baby  Buster,  Margaret 
.  Leahy,  Norma's  British 
I  protegee  and  the  pret- 
*  tiest  girl  in  England, 
and  Norma  Talmadge. 


Last  chance  to  see  Gene  O'Brien's  silken 
curls,  ladies.  This  picture  of  Eugene  and 
his  mother  was  taken  just  before  the 
auto  accident  that  resulted  in  the  shav- 
ing of  the  O'Brien  pate.  Just  think,  girls, 
what  if  Gene's  hair  should  grow  in 
straight! 


BEAUTIES  OF  THE  SCREEN 

Alice  Joyce  and  Anita  Stewart,  all 
dressed  up  for  the  Equity  Ball  at  the 
Hotel  Astor  in  New  York. 


VUto  to  Katherine  Lane  Hdngerford 

Charlie  Chaplin,  in  his 
high-powered  motor,  on 
his  way  to  work. 


Wide  World  Photo 


77 


1  from  I2©ILJISm@C3B> 


A  REAL  ROUGH  RIDER 
Alma  Bennett  left  her  home  in  Montana  with  the  one 
ambition  to  ride  Tony,  Tom  Mix's  wonder  pony.  No 
woman  had  ever  backed  Tony,  they  told  her,  except  the 
little  girl  who  broke  him.  But  she  came,  she  saw  Tony 
and  she  conquered  him — with  lumps  of  sugar  and  sundry 
wiles.  And  Tom  Mix  took  her  to  play  in  his  company,  so 
ever'body's  happy. 


'WARE  THE  DOG! 

He's  dangerous.  Ask  anybody  over  on 
the  Fox  lot.  Twice  Prince,  Shirley 
Mason's  dog,  has  chased  old  Bill  Farnum 
up  a  tree,  has  knocked  down  Tom  Mix 
and  worn  all  the  studio  cats  into  a  state 
of  nervous  prostration.  And  as  for  Shir- 
ley's press  agent,  he  has  to  call  her  up 
before  he  goes  to  her  dressing-room,  so 
she  can  square  it  with  the  purp. 


i 


y  (rom 


Photo  hy 
Katherine  Lane  Honuisufoud 


IS  THIS  A  NEW 
ENGAGEMENT? 

"Let's  give  'em  something 
new  to  talk  about,"  says  Char- 
lie Chaplin  to  Gloria  Swan- 
son,  out  in  front  of  Arm- 
strong's. Perhaps  Charlie 
wanted  to  practise  the  bride- 
groom's pose  in  anticipation 
of  his  reported  impending 
nuptials  with  Pola  Negri. 


ELSIE  TAKES  UP  SCULPING 
Sculpture  is  her  only  means  of  ex- 
pression, besides  the  stage,  says 
Elsie  Ferguson.  It's  easy  to  sculp, 
Elsie  says.  When  she  gets  through 
with  the  head,  she'll  just  reach  up 
for  a  coupla  arms  and  legs  from 
the  assortment  above  her  head, 
solder  'em  on  .  .  .  and  there  you 
are    Try  it  over  on  YOUR  piano. 


Wide  World  Photo 


from  BSMSTKKo)©© 


<^4 darns  cRKib 


Scenes  from  the  pre- 
historic sequence 
of  C.  B.  De  Mi lie's 
new  screen  spectacle. 


'The  world's  first  lover."  Theodore 
Kosloff  in  the  role  of  Adam. 


Julia  Fay,  "the  mischievous  one,"  can 
be  none  other  than  our  Mother  Eve. 


So 


 ,10r..)ijr,;.-  !'X-/'!»!» 


from  Hollywood 

Spicy  T.^gr.fh.  ,-Ai.ut  T<mr  Fn.nu  Sur,  S.nigk  fr.m  StnalM 


X 


You  Can't  Down  Ruche 


_^HE  irrepressible  Rodolph  is 
causing  Famous  Players-Lasky  mo- 
llis moments  of  exquisite  anguish. 
When  Rudie  just  naturally  refused 
to  play  in  the  Lasky  yard  any  more, 
Paramount  got  out  an  injunction 
against  him,  restraining  him  from 
appearing  in  any  film  or  stage  pro- 
duction during  the  life  of  his  con- 
tract.     Figuring,    probably,  that 
along  about  the  time  Rudie  got 
hungry  he  would  come  back  to  work 
like  "a  good  little  boy. 

But  now  it  seems  that  Valentino 
is  receiving  flattering  offers  to  make 
phonograph  records.  No  one  knew 
that  Rudie  could  sing,  but  what  does 
that  matter?  He  looks  as  if  he  ought 
to  be  able  to.  Fancy  listening  to 
Rudie  the  romantic  singing  the 
Kashmiri  Love  Song  .  .  .  "Pale 
hands  I  loved,  beside  the  Kalimar 
."  Or  perhaps  the  "Sheik  of 
Araby." 

And  just  as  another  string  to  his 
bow,  report  has  it  that  a  big  com- 
pany is  presently  going  to  put  on 
the  market  a  series  of  Valentino 
toilet  articles.  Remembering  that 
Valentino  is  the  son-in-law  of 
Richard  Hudnut,  the  big  manufac- 
turer of  perfumes  and  toilet  prep- 
arations, it  wouldn't  be  a  herculean 
task  to  guess  where  the  backing  is 
coming  from. 

Reid  Story  Common  Property 

The  peculiar  thing   about  the 
startling  disclosure  concerning  Wal- 
lace Reid  and  the  morphine  habit 
(the  complete  story  of  which  is 
given  elsewhere  in  this  magazine) 
is  that  everyone  in  Hollywood  knew 
it  .  .'.  had  known   it   for  years. 
Every  newcomer  to  Hollywood  from 
the  east  was  regaled  with  the  story 
of  how  Wally  Reid  was  ruining  his 
life  and  his  wife's  happiness.  But 
nobody  dreamed  it  would  get  into 
print  .  .  .  until  it  did.  Imagine 
the  chagrin  of  the  other  Los  Angeles 
papers  when  they  awoke  one  morn- 
ing   to    find   themselves  clearly 
scooped  on  a  story  that  had  been  of- 
fice gossip  for  two  years ! 


What  About  Pola  ? 

Is  Pola  Negri  taking  a  leaf  from 
Valentino's   book   and  trying  to 
break  her  contract  with  Lasky?  If 
the  rumor  that  is  floating  up  and 
down  the  boulevard  has  aught  of 
truth  in  it,  Charlie  Chaplin  has  ad- 
vised Pola  to  break  her  contract  and 
Pola  is  doing  her  best  to  achieve 
such  an  end  by  making  her  pretty 
self    as    obstreperous    as  possible 
around  the  Lasky  lot.  And  she  can 
be  awfullv  obstreperous  when  she 
puts  her  mind  to  it,  as  anybody  from 
the  director  to  the  electricians  can 
inform  you. 

It  is  accepted  gossip  that  Charlie 
has  been  informing  Pola  that  she 
should  leave  Laskys  and  set  herself 
up  as  an  independent  star,  backed 
by  .capital  furnished  partly  by  the 
affluent  Charlie,  and  directed  by 
Lubitsch  when  he  finishes 
directing  Mary  Pickford 
in    Dorothy    Vernon  of 
Haddon  Hall. 


An  Apple  A  Day  .  .  . 

Hollywood  is  still  chuckling  over 
this  one.  A  certain  prominent  phy- 
sician has  a  very  pretty  wife.  He 
had  to  go  East  on  a  business  trip 
recently,  and  while  away  was  in- 
formed by  his  loving  friends  that  a 
friend  of  his,  another  doctor,  was 
calling  on  his  wife  rather  too  fre- 
quently. So  he  sent  his  wife  a  box 
of  apples,  'cause  an  apple  a  day 
keeps  the  doctor  away. 

Movie  Czar  Is  Hero 

Will  Hays,  "czar''  of  the  movies, 
preached  a  sermon  at  a  Los  Angeles 
church  recently,  and  at  the  conclu- 
sion of  the  services  became  the  hero 
in  a  "touching"  little  drama,  A 


Grace  Darmond  got  the 
judge  to  let  her  change 
her  name  of  Grace  Gi- 
lonna  to  her  professional 
name  of  Darmond.  Evi- 
dently Grace  doesn't  real- 
ize how  valuable  a  foreign 
moniker  is  in  pictures, 
nowadays. 


Photo  by  Spurr 


81 


Russian  5000-ruble  note  was  being 
auctioned  off  for  charitable  pur- 
poses. When  the  pastor  asked  for  a 
bid  of  $100  for  it,  a  little  boy  raised 
his  hand.  His  embarrassed  mother 
jerked  his  arm  down,  but  not  before 
Hays  had  seen  the  outstretched  arm. 
He  allowed  the  boy  to  take  the  note, 
and  gave  him  the  $100  to  pay  for  it. 

Barbara  Knows  Value  of  Publicity 

Quincy  Adams  Sawyer  opened  in 
Los  Angeles  recently  in  a  blaze  of 
glory.  The  entire  oast  assembled  in 
person  in  one  of  the  boxes  and  made 
their  bows  to  an  appreciative  public, 
when  introduced  by  A.  Sawyer,  pro- 
ducer of  the  picture.  BarbaraLaMar 
was  very  much  present,  in  a  superb 
black  gown  with  a  wrap  of  chin- 
chilla. The  rest  of  the  cast  bowed 
and  smiled  and  subsided,  but  not 
Barbara.  She  made  a  pretty  busi- 
ness of  fixing  a  rose  in  Lon  Chaney's 
buttonhole,  of  clapping  prettily 
when  Blanche  Sweet  responded  to 
the  applause,  of  patting  Louise 
Fazenda  on  the  shoulder  when 
Louise,  unexpectedly  decorative,  ac- 
cepted her  big  bouquet  of  red  roses. 
Which  didn't  tend  to  make  the 
audience  ignore  her,  of  course. 

Blanche  Sweet  was  lovely  in  a 
gown  of  golden-brown  velvet  with  a 
deep  bertha  of  cream  lace,  and  a 
black  picture  hat.  It  was  her  first 
personal  appearance  since  her  return 
to  the  screen,  and  the  audience  wel- 
comed her  back  with  hearty  ap- 
plause. 

Why  He  Likes  Etbel 

An  office  boy  from  Robertson- 
Cole  studios,  where  Ethel  Clayton 
is  now  working,  naively  gave  as  his 
reason  for  adoring  the  fair  and 
seasoned  Ethel:  "She  doesn't  make 
herself  common  like  some  stars.  She 
doesn't  speak  to  anybody  but  her 
director  and  the  big  bosses." 

No  Divorce  for  Carmel  Myers 

Carmel  Myers  will  have  to  try 
again  before  she  will  cease  to  be 
Mrs.  Isador  Kornblum.  A  techni- 
cality involving  the.  exact  date  on 
which  Kornblum  is  said  to  have 
deserted  his  charming  wife  resulted 
in  the  court  denying  a  divorce  de- 
cree to  Miss  Myers,  without  preju- 
dice. This  means  that  Carmel  may 
try  again  after  May  9. 

Will  Hays  as  Father  Confessor 

Perhaps  one  of  Will  Hays'  pro- 
posed ways  of  turning  Hollywood 

82 


into  a  perfect  Y.  M.  C.  A.  encamp- 
ment will  be  to  gain  the  confidence 
of  the  stars,  to  act  as  a  sort  of  father 
confessor  to  them.  If  so  we  hope 
that  Mary  Miles  Minter  will  tell  him 
whether  she  is  going  to  marry  Louis 
Sherwin, dramatic  critic  and  author; 
whether  Katherine  MacDonald  is 
really  engaged;  whether  Pola's  in- 
tentions toward  our  Charlie  are 
strictly  honorable ;  and  whether 
Stroheini  is  going  to  direct  Ben 
Hut. 

We  Nominate  For  Rufiert 

After  seeing  Leon  Bary  as  the 
charming  rogue,  Pancho  in  Suzaji- 
na,  we  unhesitatingly  nominate  him 
to  Myron  Selznick  as  the  ideal 
Rupert  for  Rupert  of  Hentzau.  He 
is  a  fascinating  scoundrel;  you 
realize  he  is  doubtless  a-  hellion  and 
means  no  good  by  our  Nell,  but  he 
has  a  way  with  him.  He  would 
make  a  better  Rupert  than  Lew 
Cody,  we'll  swear  it. 

Those  Dimpled  Knees 

Judging  from  Corliss  Palmer's 
face,  which  appears  in  all  the  papers, 
her  knees  must  be  all  that  "the 
second  Mrs.  Eugene  Brewster  al- 
leges they  are.  The  Palmer-Brewster 
love  story  solves  one  of  the  burning 
questions  in  filmdom:  Why  is  Cor- 
liss Palmer  featured  in  all  the  Brew- 
ster publications  as  a  motion  picture 
star,  when  she  has  never  appeared 
in  a  motion  picture,  that  anyone 
can  remember? 

Bad  Luck  for  Harold  Lloyd 

Harold  Lloj^d  is  convinced  that 
luck  is  agin  him.  First,  his  pictures 
make  Mildred  Davis  so  popular  that 
she  is  to  be  starred ;  second,  he  hires 
a  giant  as  at  least  half  of  the  cast 
of  his  next  picture,  said  giant  being 
nine  feel  tall,  and  the  man  up  and 
dies  on  him  before  he  ever  reaches 
Hollywood;  and  thirdly,  Harold 
himself  threw  his  shoulder  out  of 
joint,  in  making  the  final  scenes  of 
Safety  Lctstl 

Grace  Darmond  Changes  Her  Name 

Grace  Darmond's  real,  honest-to- 
goodness  name  is  Grace  Gilonna. 
She  recently  appeared  in  court  to 
have  it  changed  legally  to  her  pro- 
fessional name,  Darmond.  The  next 
week  she  tripped  back  in  court  again 
to  sue  a  man  named  Daniels,  who  is 
said  to  have  fraudulently  secured  a 
mortgage  on  her  furniture,  securing 
$350  with  the  mortgage. 


Bert  and  Bebe  to  Go  East 

Bebe  Daniels  and  Bert  Lytell  have 
gone  to  New  York  to  be  co-featured 
in  The  Exciters,  a  crook  story. 
"Once  a  crook,  always  a  crook," 
mourns  Bert,  who  seems  to  be 
cursed  with  such  roles.  Bebe  is  not 
to  be  starred  by  Paramount  during 
1923  .  .  .  just  featured.  But  with 
those  features.  .  .  . 

Ora  Liarewe  Weds  ' 

Well.  Ora  Carewe  did  decide  be- 
tween her  three  suitors,  and  is  now 
more  or  less  tightly  married  to  John 
C.  Howard,  heir  to  the  Howard  salad 
dressing  millions.  John  has  gone 
back  home  to  show  the  folks  what 
he  found  in  Hollywood. 

Hollywood  Legal  Notes 

The  film  colony  has  been  so  busy 
going  to  court  this  month  that  we 
don't  see  where  they  got  time  to 
make  any  pictures.  Betty  Compson 
lost  her  appeal  and  had  to  pay  John 
McFadden  $1,971  for  services 
rendered.  Warner  Baxter  had  to 
pay  a  $25  fine  and  just  missed  going 
to  jail,  for  speeding  after  a  man 
who  owed  him  $30.  Vitagraph  sued 
Famous  Plavers-Laskv  for  a  mere 
trifle  of  $6,000,000,  charging  trust 
methods.  It  is  interesting  to  note 
that  Vitagraph  used  to  be  an  im- 
portant part  of  one  of  the  tightest 
little  trusts  the  industry  ever  knew, 
back  when  Vitagraph  was  a  power 
in  the  film  world. 

Was  G  eorge  Walsh  too  Pious 

Charging  that  he  was  "too  pious," 
George  Walsh  was  decreed  a  divorce 
from  his  wife,  Seena  Owen,  recent- 
ly. "I  don't  drink  or  smoke,"  said 
Walsh,  "and  I  guess  she  thought  I 
was  too  slow."  Desertion  was  the 
charge  on  which  he  secured  the 
divorce. 

Baby  Peggy  Gives  Recital 

Baby  Peggy  entertained  the  little 
shut-ins  at  the  Children's  Hospital 
in  Hollywood  the  other  day,  with  a. 
phonograph  recital.  Peggy  took  her 
own  little  phonograph  and  several 
dozen  kiddie  records  to  the  biggest 
ward  in  the  hospital,  and  put  on  a 
kid  concert.  It  was  a  huge  success. 

Rodolph  s  Successor,  XIV. 

Charles  de  Roche,  the  most  recent 
applicant  for  Valentino's  laurels,  is 
supporting  Dorothy  Dalton  in  The 
Law  of  the  Laivless.   He  is  a  big 


lt.m,\»  I'll i'.ir  ■■:';<■ 


Cameo,  Milton  Sill's  bull  pup,  is  telling  his 
gent  friend  the   story   about   two  Irishmen, 
named  Pat  and  Mike.  Milton  seems  to  be  get- 
ting quite  a  kick  out  of  the  story. 


chap,  a  six-footer.  And  handsome 
in  a  big,  rawboned  way. 

Theda  Bara  is  Coming  Back 

Ferdinand  Pinney  Earle,  who 
directed  The  Rubaiyai]  writes  from 
New  York  with  the  palpitating  news 
that  he  is  to  direct  Theda  Bara  in 
The  Easiest  Way  for  Selznick.  From 
the  title,  we  infer  that  Theda  has 
not  really  reformed. 

Jack  is  a  Lone  Widower  Again 

If  this  thrills  you  .  .  .  Jack 
Pickford  has  returned  to  Hollywood 
minus  his  bride,  Marilyn  Miller, 
Marilyn's  contract  reads  that  she 
must  star  in  Sally  as  long  as  the 
piece  lives,  and  as  it  seems  quite 
healthy,  there  is  no  telling  when 
Marilyn  will  join  her  new  husband. 
As  for  Jack,  he  says  that  Marilyn 
will  'co-star  with  him  in  a  picture 
next  year. 

Doug  Won't  Make  Beaucaire 

Douglas  Fairbanks  has  decided 
that  Monsieur  Beaucaire  doesn't 
offer  enough  gymnastics,  so  he  is 
leaving  it  to  some  less  exuberant 
star,  while  he  makes  a  pirate  pic- 
ture. The  scenes  will  be  laid  in  early 
English  history,  about  the  time  of 
SirFrancis  Drake.  Doug  expects  to 
spend  about  a  year  on  the  picture 
and  will  make  most  of  it  in  the 
Bahamas. 


Tom  Mix  is  Peeved 

Tom  Mix  escaped  death  three 
times  during  a  single  week  recently. 
Once  a  stage  coach  he  was  driving- 
fell  over  a  cliff  and  turned  over 
three  times,  with  Tom  in  it.  Leap- 
ing across  chasms  on  horseback  and 
minor  stunts  like  that  made  up  a 
perfect  week,  until  Tom  developed 
a  twinge  of  rheumatism.  Thanking 
his  stars  that  he  had 
finished   his  picture 
w  i  t  h  o  u  t  anything 
more  serious  than  a 
rheumatic  shoulder. 

Tom  went  to  the  stu- 
dio doctor,  who  gave 

him  a  hypodermic 

injection  in  the  arm. 

The  arm  promptly 

swelled  up  and  Tom. 

a  very  sick  man, 

went  to  the  hospital 

for  four  days.  Tom 

now  swears  to  leap 

chasms  seven  days  a 

week,  rather  than  go 

to  the  doctor. 


Quincy  Adams  Sawyer 

A  corking  good  Metro  melo- 
drama, with  a  smashing  rescue 
scene.  There's  lots  of  good  old 
hokum  in  Quincy  Adam*  Sawyer. 
You'd  know  there  would  be  with  a 
cast  that  includes  Louise  Fazonda, 
Gale  Henry,  Victor  Potel,  Blanche 
Sweet,  John  Bowers  and  Lou 
Chaney. 

Tommy  Meighan  as  Ben  Hur? 

Tommy  Meighan  is  finding  that 
virtue  is  truly  its  OAvn  reward.  Gold- 
wyn,  says  rumor,  in  looking  about 
for  the  ideal  Ben  Hur,  held  in  mind 
two  qualifications  for  the  role.  The 
star  in  the  million  dollar  Biblical 
drama  must  have  a  fine  torso,  to  set 
off  the  flowing  garments  of  the  time  ; 
and  he  must  have  a  spotless  reputa- 
tion.   Which   naturally  narrowed 
the  field  clown  right  pronto.  There 
are  a  good  many  fine  torsos  in  Holly- 
wood," but  few  spotless  reputations. 
The  combination  was  a  hard  one. 
Tommy  Meighan,  however,  filled 
the  bill  to  the  satisfaction  of  the 
Goldwyn  heads. 

We  make  this  announcement, 
bravely  choking  back  our  sobs. 
Somehow  we  can't  see  anybody  for 
this  role  but  Valentino  .  .  .  have 
predicted  that  Valentino  would 
surely  get  the  part  .  .  .  'nd  now 
they  go  and  make  us  out  a  liar!  It's 
a  crool  world. 


Sort  of  a  collapsible 
family.  Joe  Roberts, 
Buster  Keaton's 
"heavy"  man,  ac- 
knowledges two 
bosses  besides  Buster. 
One  of  'em  's  Mrs. 
Roberts,  and  the 
other  is  Joe,  Jr.  " 


c 


Picking  Up  Nails 

|  ARPENTERS  in  the  ship 
yards  during  war  time 
were  instructed  n  o  t  to 
pick  up  nails.  The  wages 
paid  them  in  those  months  of 
stress  made  their  time  more  valu- 
able than  the  nails  themselves. 

Scree xl and  is  constantly  en- 
gaged in  picking  up  nails.  Our 
nails  are  the  little  points  of  inter- 
est about  Hollywood  and  its 
people.  Our  workers  are  our  car- 
penters— for  they  are  building  a 
monument  to  Motion  Pictures. 
It  is  built  of  Sincerity  and  nailed 
home  with  a  thousand  shafts  of 
Wit,  Gentle  Satire  and  Truth. 
These  are  the  nails  that  we  have 
stooped  to  pick  up. 

What  Makes  a  Screen  Villain? 

Even  the  baby  knows  the 
answer.  His  little  mustache, 
of  course.  And  equally  obvious 
is  the  fact  that  the  broad  smile 
denotes  the  hero.  Villains 
never  smile:  they  may  smirk, 
or  sneer,  or  leer,  but  they  never 
smile.  Smiles  are  the  peculiar 
property  of  the  hero,  the  hero- 
ine, the  i  n  g  e  n  u  e,  and  the 
screen  mother.  God  love  'er, 
says  Anne  Austin,  who  cata- 
logues neatly  the  stock  smiles 
of  our  choicest  screen  stars. 
You  will  want  to  read  By  their 
Smiles  Ye  Shall  Know  Them, 
'in  Screenland  for  April. 

Would  You  Marry  a  Screen  Idol? 

If  Rodolph  Valentino  told  you 
he  loved  you.  would  you  marry 
him?  If.  after  he  had  divorced 
you  once,  would  you  marry  him 
again,  succumbing  to  the  lure  of 
his  magnetic  personality?  Jean 
Acker,  the  first  Mrs.  Valentino, 
talks  freely  to  Screenland  about 
the  delights  and  disappointments 
of   marriage  with   the  screen's 


greatest  lover.  Don't  miss  this, 
in  the  April  issue,  out  March  first. 
We  advise  you  to  place  your 
order  with  your  newsdealer  now. 

Stanlaws'  Criticism  Is  Popular 

"Penrhyn  Stanlaws'  article, 
What's  the  Matter  With  Our 
Hollywood  Women,  is  certainly 
a  welcome  change  from  the  end- 


less soft  soap  handed  out  to  the 
stars,"  writes  James  Clay  West,  of 
San  Francisco.  "It  has  not  less- 
ened my  admiration  for  the 
screen  beauties,  but  on  the  con- 
trary has  stimulated  my  interest 
in  them.  Everyone  knows  the 
stars  are  not  perfect  in  physique 
and  features,  and  the  unbiased 
criticism  of  an  artist  like  Stan- 
laws made  excellent  reading." 
Which  proves  our  point  that 


criticism  is  not  necessarily  bad 
publicity.  Rupert  Hughes  cov- 
ered the  ground  neatly  when  he 
remarked  that  some  of  the.  stars 
were  extremely  angry  at  Stan- 
laws, "because  he  never  men- 
tioned them  at  all." 

Valentino  Has  Friends  Still 

If  Aralentino  has  been  unfortu- 
nate enough  to  make  a  few  ene- 
mies among  his  bosses,  he  has  a 
host  of  friends  among  the  fans. 
One  ardent  admirer — a  man,  by 
the  way — writes  in  to  thank  us 
for  the  sympathetic  comment 
given  the  actor  editorially.  "The 
old  kid  has  trouble  enough  on  his 
hands.  The  public  is  for  him  and 
wants  to  see  him  get  a  salary  that 
is  equal  to  his  earning  power. 
Famous  Players  are  injuring 
themselves  more  than  Valentino 
We  feel  that  they  have  taken  an 
unjust  advantage  of  him.  I'm 
not  going  to  any  more  of  their 
productions.  To  think  of  Valen- 
tino being  tied  down  to  $1,250  a 
week!  It=  shows  up  Paramount 
as  a  cheap  bunch.  Valentino  bore 
the  entire  burden;  of  the  picture 
himself  in  The  Young  Rajah, 
Except  his  acting,  the  whole 
thing  was  cheap." 

Who  says  the  public  doesn't 
make  stars? 

He  Knew  Them  When  .  .  . 

'Way  back  in  the  Early  Neo- 
lithic age  of  pictures,  Colonel  Se- 
lig  was  a  power  in  filmdom.  Un- 
der his  training  many  a  star  of 
today  learned  dramatic  tech- 
nique. The  Colonel  has  a  seem- 
ingly inexhaustible  stock  of 
amusing  anecdotes  of  the  film 
colony  of  a  decade  ago.  He  is 
passing  some  of  them  on  to  you 
in  the  April  issue.  If  you  enjoy 
a  quiet  laugh,  don't  miss  this 
story  of  the  pioneer  of  pictures. 


from 


Picture  of  the  Month 


This  page  is  dedicated  to  the  man  and  woman  for 
whom  the  program  picture  holds  no  appeal.  In  this 
space  the  one  outstanding  screen  drama  of  the  month  is 
presented  to  their  discriminating  attention,  as  proot 
that  the  cinema  can  and  occasionally  does  express  real 
dramatic  ideals. 


SUZANNA 


United  Artists  Production 


ARM  SUNSHINE  beating 
on  the  old  'dobe  walls;  dashing 
caballeros  strumming  their  guitars 
'neath  a  dark-eyed  senorita's  lattice ; 
brown-frocked  padres  in  the  mission 
garden ;  Old  Spain  under  blue  Cali- 
fornia skies;  and  winsome,  lovable 
little  Mabel  Normand  .  .  .  that  is 
Suzanna. 

In  this  interesting  epic  of  early 
California,  Mabel  Normand  is  at 
her  very  best  as  the  mischievous 
peon  girl.  And  her  best  is  very  good 
indeed.  So  good  as  to  conquer  en- 
tirely the  heart  of  young  Ramon,. 
son  of  the  proud  Don  Fernando, 
whose    broad    lands    stretch  for 


leagues  around  the  hospitable 
rancho. 

Walter  McGrail,  as  Ramon,  be- 
trothed to  the  haughty  Senorita 
Dolores,  though  his  heart  belongs  to 
the  little  Suzanna,  comes  as  a  new 
type  of  screen  hero.  Not  handsome 
nor  particularly  Spanish  in  type, 
vet  his  flashing  smile  and  laughing 
eyes  make  him  a  most  pleasing  per- 
sonality; incidentally,  the  boy  is  a 
trouper. 


Winifred  Bryson  handles  capably 
the  unsympathetic  role  of  Dolores. 
Leon  Bary  is  excellent  as  Pane  ho, 
the  rakish  torero  who  covets  the 
broad  lands  of  Dolores'  inheritance. 

Gorgeous  photography  makes  Su- 
zanna a  delight  to  the  eye,  accentu- 
ating the  romantic  locale,  and  re- 
deeming a  shop-worn  plot  and  oc- 
casional" glaring  errors  in  continuity. 

Suzanna  is  as  good  as  Mickey;  it 
is  better  than  Molly -0. 


1  item  EEOMSfWSXS® 


JNttle  Hints 


For 


PLAGOERS 


SHADOWS— Preferred  Pictures 
Here's  a  picture,  now!  A  picture  that,  though  stressed 
in  its  highlights,  has  thought  back  of  every  interpre- 
tation and  some  new  quirks  of  action.  The  Daniel 
Wilbur  Steele  prize  story,  "Ching,  Ching,  Chinaman," 
laid  in  a  fishing-village  of  righteous  folks,  deals  with 
elementals  and  ends  with  a  most  effective  denoue- 
ment. In  his  impersonation  of  a  Chinese  laundryman 
who  is  something  of  a  philosopher,  Lon  Chaney  adds 
another  vital  characterization  to  his  already  large  rep- 
ertoire. Harrison  Ford  clothes  with  sincerity  his 
ministerial  role  and  Marguerite  de  la  Motte  is  effective 
ornamentation. 


picture  is 
further  handi- 
capped  by 
poor  photog- 
raphy and  a 
star,  Violet 
Heming,  who 
screens  very 
poorly. 


ROB  'EM  GOOD— Metro 
In  which  history  repeats  itself.  In  this  rollicking  parody  of 
Douglas  Fairbanks'  ROBIN  HOOD,  the  greenest  laurels  are 
carried  away  by  King  Richard,  this  time  in  the  person  of  Chuck 
Reisner  of  the  large  appetite.  Bull  Montana,  as  DUKE  OF 
NOTHINGDONE  who  goes  on  a  crusade  to  find  the  cat's  whiskers, 
and  later  as  the  bold  rogue,  ROB  'EM  GOOD,  wins  honors. 


66 


THE  LIGHT  IN  THE  DARK— Metro 
Wholesome  melodrama  revolving 
around  a  cup  that  seems  to  be  a 
Panacea  for  1  ill,  is  developed  in  true 
ladies'  magazine  fashion.  There  is  a 
cut-back  to  the  time  of  the  Holy 
Grail,  which  is  superbly  done  in  nat- 
ural colors.  Hope  Hampton  looks 
beautiful  consistently.  Lon  Chaney 
and  E.  K.  Lincoln  are  the  other  points 
of  the  triangle. 


DRUMS  OF  FATE— Paramount 
A  scenic  that  lacks  only  the  launching  of  a  battleship  to 
make  a  first-class  news-reel.    Mary  Miles  Minter  skips 
£om  New  York  to  Budapest,  to  Venice,  to  Cairo  and  to 
III  African  iungles    Mary  Miles  bravely  tries  to  make 
up  for Sack  ogf dramatic7  ability  by  her  coy  little  antics 
and  it  is  the  firm  belief  of  the  writer  that  coyness  should 
alwavs  be  in  inverse  ratio  to  the  avoirdupois..  Lefty 
Flynn?  Casson  Ferguson  and  George  Fawcett  strive  vainly 
y     to  lend  conviction  to  this  hectic  drammer. 


I 


er- 
'pr 
iat 
ed, 
est 


O  UTC  AST— Paramount 
A  highly  improbable  ending  ruins  a 
simple  and  telling  story  that  might 
have  been  taken  straight  from  the 
book  of  Life.  Despite  this  fact,  the 
picture  is  worthy  of  attention  be- 
cause of  the  characterization  ot 
Elsie  Ferguson,  which  reaches  su- 
perb heights  of  dramatic  interpreta- 
tion. 


87 


THORNS  AND  ORANGE  BLOSSOMS— 
Preferred  Pictures 
The  hero,  the  plot  would  have  you  understand, 
remains  pure  and  undefiled  through  all  his  tempta- 
tions. In  which  iKenneth  Harlan  s'  ows  poor  dis- 
crimination, for  Estelle  Taylor  makes  the  Spanish 
vamp  so  darned  alluring  that  we  can't  comprehend 
any  man's  leaving  her  for  the  lukewarm  affection 
of  Edith  Roberts.  Just  another  gelatin  drama  ground 
through  the  old  mill. 


HUNGRY  HEARTS— 
Goldwyn 
Despite  the  sop  of  a  happy 
ending,  Hungry  Hearts  is  a 
splendid  picture.  If  you  are 
tired  of  the  rubber-stamp 
gelatine  dramas  ground 
through  the  eternal  society 
mill,  you  will  welcome  this 
cross-cut  of  the  Russian 
immigrant's  life.  Though  it 
has  lost  a  great  deal  of  the 
tense  quality  of  Anzia  Ye- 
zierska's  book,  and  though 
its  humorous  possibilities 
have  not  been  fully  de- 
veloped, the  picture  never- 
theless stands  as  one  of  the 
year's  achievements  for 
those  who  prefer  the  raw 
meat  of  life  to  the  fancy 
cake-frosting  of  imagery. 
Rosa  Rosanova  paints  with 
memorable  skill  the  Russian 
mother  and  Helen  Fergu- 
son as  SARA,  the  green- 
horn, whom  dreams  of  "lift- 
ing" herself  to  American 
freedom  and  light,  proves 
herself  an  actress  of  depth 
and  feeling.  But  why,  oh, 
why,  spoil  it  all  with  that 
sugar-coated  ending?  Is  the 
public  as  asinine  as  Gold- 
wyn believes,  that  it  does  not ' 
care  for  the  realism  of  life? 


TOLL  OF  THE  SEA— Metro 
Richly  embroidered  Chinese  costumes  of  gor- 
geous shades  and  quaint  gardens  in  full  bloom  are 
ideal  subjects  for  color  photography.  Each  scene 
is  an  exquisite  picture.  The  flesh  tints  are  re- 
markably lifelike  and  enhance  the  players  to  such 
a  degree  that  color  photography  should  meet  with 
immediate  favor  with  the  stars  themselves,  as 
well  as  the  fans.  Anna  May  Wong,  as  the  Lotus 
Flower,  deserted  by  her  American  lover,  gives  a 
performance  of  unusual  appeal.  A  distinctive  and 
unusual  picture. 

]  I  I  I  I  ■  ■  ■IIIM  ■  ■  ■  III  I  I 


MY  AMERICAN  WIFE— Paramount 

This  latest  Gloria  Swanson  fashion-review  gets 
off  to  a  slow  start,  but  picks  up  in  speed  and  in- 
terest as  the  plot  unravels.  As  the  wealthy  and 
independent  daughter  of  the  Kentucky  Chesters 
who  risks  her  reputation  to  save  the  man  she 
loves  from  the  toils  of  intrigue  in  a  South  Amer- 
ican republic,  Gloria  Swanson  does  some  accept- 
able acting.  Antonio  Moreno,  who  supports  Miss 
Swanson,  is  handsome  and  convincing.  A  dance- 
hall  dive  is  introduced  into  the  plot,  apparently 
for  the  sole  purpose  of  reproducing  the  Argen- 
tine Tango  scene  that  was  such  a  knock-out  in 
THE  FOUR  HORSEMEN.  An  excellent  cast 
included  Josef  Swickard,  Edythe  Chapman  and 
Eric  Mayne. 


89 


A  Nation  -  Wide  Call 

for  New  Ideas  for  the  Screen 

—And  New  Writers  To  Supply  Them 

Producers  are  searching  everywhere  for  new 
and  original  stories  for  their  productions 


TPHE  call  is  for  new  writers  who  can  write  new 
.1  Wories  that  these  producers  can  use  to  meet  the 
public  demand  for  better  stories. 

And  there  is  a  new  opportunity  for  talent  yet  un- 
discovered. This  talent  may  be  anywhere — in 
people  who  may  least  suspect  it.  Recently  a  New 
York  society  woman;  a  Montana  housewife;  an 
underpaid  office  man  in  Utah;  a  Pennsylvania 
newspaperman  and  many  others  discovered  and 
trained  by  this  corporation  have  sold  their  stories 
or  become  staff  writers  to  prominent  producers. 

It  is  a  fact  that  the  adapted  books  and  short 
stories  are  insufficient,  and  in  most  cases  unsuitable 
for  use;  and  scores  of  men  high  in  authority  in  the 
studios  buy  these  published  stories  only  because 
they  cannot  get  enough  suitable  material  written 
directly  for  the  screen. 

Producing  companies  can  use  scores  of  new 
stories  immediately,  and  yet  they  cannot  find  them. 
A  great  director  recently  paid  $8000  cash  for 
merely  an  idea  that  one  of  his  trained  scenario  writ- 
ers could  make  into  a  photoplay. 

Producers  want  stories  written  by  anyone  so  long 
as  they  are  good  ones  and  are  written  with  a 
knowledge  of  screen  technique. 

Most  people  know  life,  for  they  live  it.  Most 
people  also  will  find  that  they  have  good  basic  story 
ideas,  if  they  only  stop  to  think.  Many,  too,  are 
naturally  endowed  with  Creative  Imagination,  that 
most  important  qualification  for  screen  writing. 

What  most  people  do  not  know  is  what  they  really 
do  know,  and  seldom  find  out,  merely  because  they 
do  not  try  to  do  the  things  they  might  do  success- 
fully. 

Is  screen  writing  your  ability?  Have  you  that 
essential,  natural  endowment  Creative  Imagination? 
Don't  answer  negatively,  even  to  yourself,  until 
you  really  know.  There's  a  simple  way  to  find  out 
about  yourself — through  the  famously  successful 
Palmer  Creative  Test. 

If  you  have  thought  that  you  could  change  scenes 
here  and  there  to  make  a  picture  better,  send  for 
this  free  test. 

If  you  believe  that  you  know  life  and  have  some 
ideas  that  could  be  adapted  to  the  screen,  send  for 
this  free  test  and  learn  the  truth. 


Advisory  Council 


Thos.  H.  Ince 

Veteran  Producer 

Allen  Holubar 

Producer  and  Director 

E.  J.  Banks,  m.a.,ph.d. 

Director  of  Research. 
Sacred  Films,  Inc. 

Rob  Wagner 

Screen  Authority 


Rex  Ingram 

Director  and  Producer 

C.  Gardner  Sullivan 
Scenarist  to  Thos.  H.  Ince 

J.  L.  Frothingham 

Producer  of  Features 

James  R.  Quirk 
Editor, 
Photoplay  Magazine 


Frederick  Palmer,  Author  and  Educator 
Educational  Staff  Officers 


Clayton  Hamilton,  M.A. 
Director  of  Education 

Douglas  Z.  Doty 

"»  Associate  Editor 


Eugene  B.  Lewis 

Editor-in-Chief 

George  Elwood  Jenks 
Associate  Editor 


We  tell  you  frankly  what  chance  you  have.  It 
is  not  our  purpose  to  encourage  anyone  who 
lacks  the  essentials  of  success  in  writing  photoplays. 
Our  aim  is  to  develop  more  writers  who  can  supply 
the  great  demand  for  good  photoplays. 

The  Palmer  Creative  Test,  therefore,  is  solely  to 
single  out  those  persons  who  are  likely  to  develop 
into  regular  producers  of  acceptable  scenarios. 

Those  who  enroll  find  this  course  complete — of 
university  calibre — yet  requiring  only  15  minutes 
daily  if  they  haven't  time  for  more. 

When  you  take  this  course  you  train  yourself  to 
write  scenarios  by  witting  them  under  the  direction 
of  successful  photodramatists  of  actual  studio  ex- 
perience. 

And  now  that  we  'produce  photoplays  ourselves,  as 
well  as  sell  to  others,  we  offer  to  new  writers  for 
their  acceptable  scenarios  a  royalty  basis  of  pay- 
ment with  a  minimum  of  $1000  in  advance.  So 
photoplay  writers,  now  for  the  first  time,  can  share 
in  the  profits  from  their  plays.  Other  producers 
usually  pay  from  $500  to  $2000  for  stories  they 
select. 

The  question  is:  Are  you  one  of  those  persons 
who  can  be  trained  to  write — one  of  those  who  are 
naturally  endowed  with  Creative  Imaginaiiont 

You  cannot  know  until  you've  sent  your  answers 
to  the  Palmer  Creative  Test. 

It's  worth  while  to  know.  For  many  people  now 
are  missing  a  new,  brilliant  career  because  they  lit- 
tle suspect  this  power  in  themselves. 

It  is  worth  while  to  develop  Creative  Imagina- 
tion even  though  you  do  not  wish  to  write  photo- 
^'ays  as  a  vocation,  because  this  power  brings 
success  in  any  line  of  work,  art,  or  profession. 

So  send  now  for  this  free  test,  made  in  the  privacy 
of  your  home  without  cost  or  obligation. 

We  will  tell  you  frankly  what  your  answers  indi- 
cate. All  correspondence  is  strictly  confidential. 

According  to  the  way  in  which  you  answer,  we 
will  send  you  complete  information  about  the  Pal- 
mer Course,  or  advise  you  not  to  take  it. 

The  main  thing  is  to  get  the  Creative  Test  and 
know  if  you  have  ability  of  this  kind. 

So  mail  the  coupon  now. 


Copyright,  1922,  Palmer  Photoplay  Corporation, 
Hollywood,  Calif. 


Palmer  Photoplay  Corporation, 

Department  of  Education,  Sec.  2203,  _ 
Palmer  Building,  Hollywood,  California. 

Please  send  me,  by  return  mail,  your  Creative 
Test  pages  which  I  am  to  fill  out  and  mail  back  to 
you  for  analysis.  It  is  understood  that  this  coupon 
entitles  me  to  a  detailed,  constructive  report  on  my 
test  by  your  examining  board,  without  the  slightest 
obligation  or  cost  on  my  part.  Also  send  me  free, 
Carrol  B.  Dotson's  book,  "How  a  $10,000  Imagin- 
ation Was  Discovered." 

Name    

Street  

City   State  

Ah  correspondence  strictly  confidential. 


Fasters  in  Babylon 

( Continued  from  page  15.) 
relish  and  the  unconcern  of  a  child 
showing  off,  Tessie  danced  between 
the  tables.  The  Great  Director  was 
watching  her.  And  his  face  was  ex- 
pressionless as  a  mask. 

Then  the  great  man  spoke:  "A 
ear— Paris— a  contract— you  shall 
have  them  all,  if — " 

***** 

Ting-a-ling-a-ling ! 

The  shrilling  of  a  telephone 
roused  Tessie  from  her  slumbers  in 
her  Vine  Street  boarding  house. 
"Sorry,  Miss  Tintype,"  spoke  the 
casting  director's  voice,  "that  ball- 
room set  at  Goldwyn's  is  called  off 
— nothing  else  doing  today." 

And  poor  Tessie  hung  up  the 
phone,  turned  over  in  bed,  and  pre- 
pared herself  for  another  day  of 
fasting. 

Broken  Panes 

(Continued  from  page  28.) 
midnight  Ramie  approached.  Rose 
saw  him,  but  would  not  allow  her 
conscience  to  show  it. 

Old  Gerald  was  fast  asleep.  Rose 
was  dressed  but  in  bed,  as  I  have 
said.  Ramie  went  after  her* — and 
they  crept  softly  out  to  the  car.  But 
old  Gerald  heard  the  noise  of  the  car, 
and,  as  the  lights  were  on,  he  plainly 
saw  Ramie  and  his  daughter,  but 
they  pretended  not  to  see  him. 

Old  Gerald  fired  a  few  shots  and 
retired. 

Party  of  the  First  Part 

The  next  morning  old  Gerald 
took  up  the  pursuit  with  ten  dead- 
shot  outlaws.  Ramie  knew  trouble 
was  coming,  so  he  gathered  about 
him  five  of  the  best  cowboys  in  the 
city  of  Los  Angeles.  A  fight  began 
and  Ramie  fought  like  lions  until 
only  Rose's  father  was  left.  He  was 
sorely  wounded.  This  taught  him 
a 'lesson.  He  decided  to  make  Ra- 
mie his  son-in-law.  He  asked  Ramie 
to  excuse  him  for  attempting  to  kill 
him  several  times,  and  it  was 
granted  right  courteously. 

So  they  were  married.  The  mar- 
riage was  carried  on  by  the  minister 
(Ed.  Note:  We  have  two  ministers 
in  Los  Angeles;  which  one  does  he 
mean?),  and  Rose,  though  a  coun- 
try girl,  looked  as  elegant  as  any 
city  girl.  Ramie  was  always  nice  to 
her  and  she  enjoyed  anything  she 
wished. 

Closed  by  Board  of  Health 

*  Bed-room  scenes  censored  in  Punxsu- 
tawny,  Keokuk  and  points  west. 


90 


$10  for  the  best  answer  to  "Which  Advertisement  in  This  Issue  of  Screenland  Appeals  to  You  Most— and  Why?" 


: 


Lost  74  Pounds 
Mrs.    Mary  J.  Denneny, 

of  82  W.  9th  St..  Bayonne, 
N.  J-.  who  writes:  '  I  re- 
duced from  240  to  166 
pounds  (74  pounds  reduc- 
tion). I  lost  10  pounds  the 
very  first  week." 


Lost  20  Pounds  in  3  Weeks 
Miss  Kathleen  Mul- 
lane.  Famous  Artists 
Model.  She  writes:  I 
lost  20  pounds  in  less 
than  3  weeks  through 
your  -wonderful  new 
method." 


Lost  13  Pounds  in  8  days 
Mrs.  Geo.  Guiterman,  420 

E.  66th  St..  N.  Y.  City.  She 
says:  "I  have  lost  13  pounds 
since  Monday  (8  days), 
am  feeling  fine." 


and 


Lost  28  Pounds  in  30  Days 
Mr  E.  A.  Kettel,  225  W.  39tll 
St  N.  Y.  City,  who  says:  "I  lost 
28 "pounds  in  30  days,  and  ban- 
ished the  headaches  I  always  had 
when  I  was  stout." 


Loet  36  Pounds 
Miss    Anna  Queenan, 

5570A,  Vernon  Ave..  M. 
Louis,  writes:  "I  reduced 
from  190  to  154  pounds 
(36  pounds  lost)  in  a  few 
weeks  and  feel  better 
than  I  ever  did  before.  . 


?tt'iX?3Ztrtt*Y£~«  d»V  t„..  -  .hi. 

y  amazing  method. 


WOULDN'T  you  be  glad  to  have  a 
slender,  graceful,  youthful  figure 
if  it  could  be  obtained  rapidly, 
without  bitter  self-denial, 
drugs  or  discomforts? 

Especially  if  the  method 
you  used  brought  renewed 
health  and  vitality? 

It  is  easily  accomplished. 
All  you  have  to  do  is  to  fol- 
low a  simple  law  of  Nature 
which  has  recently  been  dis- 
closed and  your  fat  will  van- 
ish. You  '11  be  able  to  walk 
or  climb  without  fatigue  or 
breathlessness.  You'll  be 
able  to  wear  the  new  styles, 
no  matter  how  "frilly"  or 
colorful  they  may  be. 


Complete 
Cost  for 
AllOnb/ 

300,000  formerly 


stout 

men  and  women  have 
gladly  paid  $1.97.  and 
more,  for  this  remark- 
able method.  Many  write 
that  their  improved  ap- 
pearance and  health  was 
worth  hundreds  of  dollars 
to  them.  Yet  for  a  limited 
time  you  are  being  given 
the  opportunity  to  pur- 
chase this  wonderful  meth- 
od for  only  97c 


Loses  22  Pounds  in 
14  Days 

The  rate  at  which  you 

lose  your  surplus  flesh  is 

absolutely  under  your  own 

control.    If    you    do  not 

wish  to  lose  flesh  as  rapidly 

as  a  pound  a  day,  you  can 

regulate  this  natural  law  so 

that  your  loss  of  flesh  will  be  more  gradual. 

When  you  have  reached  your  normal  weight 

you  can  retain  it  without  gaining  or  losing 

another  pound. 

Mr.  Ben  Naddle,  of  102  Fulton  St.,  New 

York  was  just  22  pounds  overweight.  He 

decided  to  reduce  as  rapidly  as  possible 

He  writes:   "I   reduced  from  175  to  153 

pounds  in  just  two  weeks.  Before  I  started 
I  was  flabby  and  sick— had  stomach  trouble 
all  the  time.    I  feel  wonderful  now." 

Taking  off  excess  weight  by  this  new 
method  is  the  easiest  thing  imaginable.  It 
is  absolutely  harmless.  Almost  like  magic 
it  brings  slender,  graceful,  supple  figures 
and  the  most  wonderful  benefits  in  health. 
Weakness,  nervousness,  indigestion,  short- 
ness of  breath,  as  well  as  many  long-seated 
organic  troubles,  are  banished.  Eyes  bs- 
come  brighter,  steps  more  elastic  and  skins 
smooth,  clear  and  radiant.  Many  write  that 
they  were  positively  astounded  at  losing  wrin- 
kles which  they  supposed  to  be  ineffaceable! 


healthful  weight.  He  discovered  that  cer- 
tain foods  when  eaten  together  take  off 
weight  instead  of  adding  to  it.  Certain  com- 
binations cause  fat,  others 
consume  fat.  For  instance, 
if  you  eat  certain  foods  at 
the  same  meal  they  are  con- 
verted into  excess  fat.  But 
eat  these  same  foods  at  dif- 
ferent times  and  they  will 
be  converted  into  blood  and 
muscle.  Then  the  excess 
fat  you  already  have  is  used 
up.  There  is  nothing  com- 
plicated and  nothing  hard 
to  understand.  It  is  simply 
a  matter  of  learning  how  to 
combine  your  food  properly, 
and  this  is  easily  done. 

This  method  even  permits 
you  to  eat  many  delicious  foods 
which  you  may  now  be  denying 
yourself.  For  you  can  arrange 
your  meals  so  that  these  deli- 
cacies will  no  longer  be  fattening. 


Use  the  Coupon 
and  Save  a  Dollar 


10  Days'  Trial- 
Send  No  Money 


The  Secret  Explained 

Scientists  have  always  realized  that  there 
was  some  natural  law  on  which  the  whole 
system  of  weight  control  was  based.  But 
to  discover  this  vital  "law  of  food"  had  al- 
ways baffled  them.  It  remained  for  Eugene 
Christian,  the  world-famous  food  specialist, 
to  discover  the  one  safe,  certain  and  easily 
followed    method    of    regaining  .normal, 


Lost  44  Pounds 
Mrs.    Eric    Capon,  of 

Manhasset,  L.  I.,  who 
says:  "I  lost  44  pounds 
and  my  friends  compli- 
ment me  on  my  new, 
slender,  youthful  and 
healthy  appearance.' 


Lost  23  H  Pounds 
Mr.     Harry  Benson, 

231  W.  39th  St.,  N.  Y. 
City,  writes:  "I  have  lost 
23H  pounds,  and^  I  feel 
like  a  16-year-old." 


Lost  26  Pounds 
Mrs.   R.   H.    Diehl,  109 

E.  Market  St.,  Danville, 
Pa.,  writes:  "I  lost  26 
pounds  and  now  weigh 
141  pounds,  which  is  my 
normal  weight;  and  there 
I  am  going  to  stay,  for  I 
now  know  the  secret.' 


Lost  40  Pounds 
Mi«s  Melissa  Givings. 
53  W.  155th  St.,  N.  Y. 
City,  writes:  "I  reduced 
40  pounds  and  banished 
acute  indigestion  also. 
The  method  is  easj — no 
discomfort,  no 
no  starvation." 


sk  and 


Eugene  Christian  has  incorpo- 
rated his  remarkable  secret  of 
weight  reduction  in  an  interest- 
ing little  course  called  "Weight  Control— the  Basis 
of  Health  "  To  make  it  possible  for  every  one  to 
profit  by  his  discovery,  he  offers  to  send  the  com- 
plete course  on  trial  to  any  one  sending  m  the 
coupon. 

Why  the  Coupon  Is  Worth  $1.00 
to  You  Now 

Those  who  use  this  rapid  method  of  reducing  to 
normal  weight  are  usually  so  enthusiastic  that  they 
Simply  cannot  refrain  from  mentioning  this  method 
to  their  friends.  This  will  be  the  best  kind  of  ad- 
vertisement for  us.  So  we  are  willing  to  lose  money 
in  order  to  secure  a  great  number  of  users  m  the 
ohortest  possible  time.  ... 

So  here  is  our  offer.  Just  mail  the  coupon  with- 
out sending  a  penny.  The  coupon  will  be  accepted 
as  worth  $1.00  on  the  purchase  of  this  course  for 
which  others  have  had  to  pay  $1.97.  .  Then  when 
the  course  arrives  all  you  have  to  do  is  to  pay  the 
postman  only  97  cents  plus  the  few  cents  Postage, 
and  the  course  is  yours.  There  will  be  no  further 
payments  at  any  time.  But  if  you  are  not  thor- 
oughly P  eased  after  a  10-day  test  of  this  method 
you  may  return  the  course  and  your  money  wi 
be  refunded  instantly.  (If  more  ""^"""A^S 
may  remit  97  cents  with  the  coupon,  but  this  is 
not  necessary.)  ,,„„ 
Our  liberal  guarantee  protects  you  ,Elth,er  y°u 
experience  in  10  days  such  a  wonderful  reduction 
in  weiaht  and  such  a  wonderful  gam  m  health  that 
you  wish  to  continue  this  simple,  easy,  delightful 
method  or  else  you  return  the  course  and  your 
money  is  refunded  without  nuestion.  - 

Don't  delay.  This  special  price  may  soon  be 
withdrawn.  If  you  act  at  once  you  gain  a  valuable 
secret  of  health,  beauty  and  normal  weight  that 
will  be  of  priceless  value  to  you  throughout  your 
life.    Mail  the  coupon  NOW. 

CORRECTIVE  EATING  SOCIETY 
Dept.W2223, 47  W.  16th  St.,  New  York  City 

Send  your  letter  to  Advertising  Manager.  Screenland  Magazine, 


Lost  104  Pounds 
Mr.  John   Griswold,  Of 

Anthony.  Kan.,  writes: 
"I  lost  104  pounds  at  the 
rate  of  5  pounds  a  week. 
I  reduced  my  waistline 
17  inches.  Today  I  am 
in  good  health  and  free 
from  all  avoirdupois  ail- 


ments.' 


Delighted  with  Resultl 
Mrs.    Edith  Robinson,' 

of  825  Busseron  St..  Vin- 
cennes,  hid.,  writes:  1  he 
results  of  'Weight  Con- 
trol' were  immediate  and 
were  more  than  satis- 
fying." 


Lost  30  Pounds 
Miss  Elizabeth  John- 
son, of  3045  Washington 
Blvd.,  Indianapolis,  Ind., 
writes:  "I  have  lost  30 
pounds  and  can  cheer- 
fully recommend  'Weight 
Control.'  " 


Lost  80  Pounds 
Miss       Laura  Morse, 

271  W.  119th  St.,  N.  Y. 
City,  writes:  "I  have  lost 
80  pounds.    I  feel  hetter 
than    I    have    in  yea/ 
and     look     10  yep 
younger." 


This  Coupon  Is  Worth  $1.00 

(Under  conditions  named  below) 


to  If 


ifor 
hat 
, pted, 

TTlRRFCTlVE  EATING  SOCIETY,  best 
D°pt  W-222i,  47  W  16th  St.,  New  York  Citr^ 

Without  money  in  advance  you  may  send  '  * 
wraooer   Eugene  Christian's   Course  on  vapuj, 

t  Se^ostr^o^^s  r,£f^^ 

S£SSea^^S|« 

this  course  within  10  davs  and  having  my  9/  ?e„",ti 
funded  if  I  am  not  delighted  with  the  wonderful  remits. 
I  am  to  be  the  sole  judge. 


Name. 


(Please  write  plainly.) 


Address  

Hollywood,  Calif. 


91 


German  Formula 
Permanently 
Removing  Hair 


FREE  TRIAL 

of  this  wonderful  discovery 
The  LORRAINE-AUDIGIER  PERMANENT 
HA.IR  REMOVER  is  guaranteed  —  every 
30-day  outfit  contains  money-back  guaran- 
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LORRAINE-AUDIGIER  MANUFAC- 
TURING COMPANY 
524  South  Spring  Street 
Los  Angeles,  California 

United  States  Distributors 
(Foreign  Depots:  27  Charterhouse  Square, 
London;  5  Rue  de  la  Paix,  Paris;  J.  Pro- 
chownik,  Berlin.) 


LORRAINE-AUDIGIER  SYSTEM— 
French  Method  of  Beauty  Culture  taught 
by  mail.  Write  for  free  Scholarship  plan. 
Own  a  "Lorraine- Audigier  Shoppe"  of 
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agents  and  by  mail. 


A  beautiful  portrait  of 
your  favorite  star. 

A  real  artistic  photograph 
One  8  x  10  for  fifty  cents  by 

MELBOURNE  SPURR 

PHOTOGRAPHER 
6040  Hollywood  Blvd.  Hollywood.  Cal. 


Hoover  Art  Studios 

6321  Hollywood  Blvd. 
Los  Angeles,  California 

Professional  Photography  a  Specialty 


leachYour  Child 
^ancyVancino 

jm.-/  Your  little  girl  can  be  a 
MWk.  charming  Fancy  V/ 

Dancer.  She  has  the 
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of  her— and  she  will  be  grateful 
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Lessons  By  Mail 

You  can  teach  your  child  at  home  from  our 
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Elocution  and  Other  Accomplishments 
Conservatory  at  4741  Broadway,  Chicago.  111. 


Taught 
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Winter  Sports 


IN 

Hollywood 

Winter  in  screenland  is  not 
the  monotonous  season  that 
many  persons  "back  East"  pic- 
ture it.  True,  the  climate  is 
much  like  summer  all  the  year 
round,  but  our  outdoor  amuse- 
ments change  with  the  seasons, 
just  as  they  do  in  the  chilblain 
belt. 

When  the  film  star,  resting 
between  pictures,  begins  to  feel 
fed  up  with  sunshine  and  roses, 
he  hops  in  his  special-built  car 
and  motors  up  to  Big  Bear 
Lake,  just  a  few  miles  up  in 
the  mountains.  There  flourish 
the  same  sports  that  we  enjoy- 
ed as  kids  back  in  York  state. 
Toboganning,  skiing  and  skat- 
ing, made  to  order,  as  it  were. 
Studio  companies,  desiring  a 
snow  scene  too  extensive  to  be 
"faked"  with  salt,  always  go  to 
Big  Bear  on  location. 

The  beaches  offer  another 
form  of  amusement.  Surf  bath- 
ing in  winter,  even  in  Sunny 
California,  is  an  exhilarating 
sport.  A  few  hardy  souls  go  in 
all  winter.  Most  of  the  film 
colony,  however,  content  them- 
selves with  basking  on  the  sands 
and  partaking  largely  of  "hot 
dogs." 

The  lure  of  the  race  track, 
roulette  wheel,  and  "hard  lik- 
ker"  draws  Hollywood  almost 
en  masse  to  Tia  Juana,  a  typical 
Mexican  town  just  across  the 
border.  No  season  is  complete 
without  at  least  one  visit  to  this 
picturesque  resort. 

The  lovely  island  of  Catalina 
has  become  as  much  a  winter 
resort  as  summering  place,  and 
any  week-end  finds  numerous 
screen  stars  enjoying  the  brac- 
ing sea  breezes  and  the  sun- 
shine here.  The  glass-bottomed 
boat  that  carries  one  from  the 
mainland  to  the  island,  reveal- 
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Hollywood* 


Mary 


M 


and  the  Men  She 
Has  Made 


^  ARY  PICKFORD  is  one 

screen  star  who  has  never  permitted 
envy  or  jealousy  to  stand  in  the  way 
of  helping  someone  who  had  ability 
and  she  has  unselfishly  aided  a 
number  of  beginners  to  positions  oi 
importance  on  the  screen. 

In  her  new  production  of  "Toss 
of  the  Storm  Country,"  the  male 
role  was  given  to  Lloyd  Hughes 
and,  from  the  offers  he  has  had 
since  the  picture  was  released,  it  is 
sure  to  prove  a  stepping  stone  to- 
ward success  for  him. 

The  late  Harold  Lockwood  be- 
came a.  star  almost  overnight  as  a 
result  of  playing  the  leading  male 
role  in  Miss  Pickford's  original  ver- 
sion of  "Tess  of  the  Storm  Country* 
eight  years  ago. 

Gloria  Hope,  who  plays  the  pet- 
ted, pampered  daughter  of  the  rich 
and  overbearing  "hill-topper"  oppo- 
site to  Miss  Pickford's  characteriza- 
tion of  the  ragged  little  heroine,  is 
also  receiving  flattering  offers  to  ap- 
pear in  other  productions. 

Among  the  present  day  promi- 
nent persons  appearing  on  the 
screen  who  have  been  helped  by 
Mary  Pickford  are  AVesley  ("Frec- 
kles")   Barry,   who   got  his  first 
chance  to  show  what  he  could  do  m 
"Daddy  Long  Legs."  John  Bowers, 
who  was  materially  helped  to  recog- 
nition by  Miss  Pickford  after  his  ap- 
pearance with  her  in  "Hulda  from 
Holland."    Marshall  Neilan,  who 
started  on  the  most  important  step- 
ping stone  of  his  career  as  leading 
man  to  Mary  Pickford  in  several  of 
her  earlier  productions.    She  felt 
-  that  he  had  ability  in  the  directorial 
line,  and  urged  him  to  try  it,  giv- 
ing him  an  opportunity  with  her. 
He  afterwards  directed  three  or  four 
pictures  for  her,  which  gave  him 
prestige  and  standing  in  the  profes- 
sion, and  started  him  on  his  career 
as  a  leading  director. 


M  rs.,  Kerrigan,  the  mother  of 
J.  Warren  Kerrigan,  died  recently 
at  her  son's  home  following  a  year's 
invalidism. 

The  screen  star  was  in  the  wilder- 
ness of  Nebraska,  on  location  with 
"The  Covered  Wagon,"  when  the 
end  came,  and  made  a  wild  trip  by 
aeroplane  and  motor.  The  sincere 
devotion  between  Warren  Kerrigan 
and  his  mother  has  been  one  of 
Hollywood's  most  beautiful  tradi- 
tions. 

Send  your  letter 


HOLLYWOOD  BLVD.  NEAR  HIGHLAND 


a  blend  of  Fun-Melody 
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ACtingFiLMdINFORMATION  BUREAU, 

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N  ews  that  Helen  Chadwick,  film 
star,  would  seek  a  divorce  from  Wil- 
liam A.  Wellman,  director,  was  a 
real  shock  to  Hollywood.  In  fact, 
it  was  a  double  shock,  because  few 
knew  they  were  married. 

The  separation  occurred  nearly 
six  months  ago,  but  only  a  few  in- 
timate friends  knew  anything  about 
it.  The  decision  to  live  apart  came 
after  a  year  and  a  half  of  married 
life,  marked  by  a  series  of  disagree- 
ments and  reconciliations. 

"Pure  temperamental  differ- 
enees,"  explained  Miss  Chadwick, 
adding,  "we  are  still  the  best  of 
friends  and  take  great  interest  in 
each  other's  work." 

"I  have  not  yet  decided  when  I 
will  sue  for  a  divorce,  but  when  I 
get  one  it  will  not  be  for  the  pur- 
pose of  marrying  again.  Why?  Be- 
cause there  is  no  one  I  think  more 
of  than  Mr.  Wellman.  He's  a 
perfect  gentleman,  but  success 
in  marriage  with  us  seems  im- 
possible." 

to  Advertising  Manager,  Screenland  Magazine, 


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 State . , 


$10  for  the  best  answer  to  "Which  Advertisement  in  This  Issue  of  Screenland  Appeals  to  You  Most-and  Why?" 


The  Hollywood  Divorce 
Ring 

(Con finned  from  page  57) 

lawyers  will,  with  all  refinement 
and  delicacy,  the  consideration  and 
gentlemanliness  for  which  our  legal 
luminaries  are  famous,  search  the 
statutes  for  only  such  charges  as 
come  well  within  the  realms  of 
propriety.  Desertion,  incompati- 
bility, mental  cruelty,  non-support 
— d  i  str  es  s  i  n  g  commissions,  of 
course,  in  their  way,  but  in  no  wise 
reflecting  upon  the  moral  virtue 
either  way  of  the  parties  impli- 
cated. 


T> 


he  only  conclusion  we  can  draw 
from  this  genteel  state  of  affairs  is 
that  the  film  fraternity  is  peculiarly 
free  from  the  more  vulgar  form  of 
infidelity.    Society  people,  bankers, 
industrial  magnates,  yea,  and  even 
stage  celebrities  and  operatic  prima 
donnas,  can  claim  no  such  im- 
munity from  this  more  unpleasant 
form  of  marital  uniaithfulness.  In 
all  those  walks  of  life  there  have 
been  the  most  distressing  exposures 
in  recent  divorce  cases  in  which  the 
immoral  charges  and  counter- 
charges have  been  hurled  across  the 
court  rooms.   What  manner  of 
people  can  these  be?   We  know  not 
their  kind  in  filmland  —  at  least 
hardly  at  all — and  then  the  faux 
pas  is  usually  committed  by  some 
painful  person;  whose  familiarity 
with  film  ethics  is  obviously  in 
doubt.  Or  possibly  they  secured  the 
wrong  lawyers.  We  decline  to  dwell 
upon  these  few  glaring  exceptions — 
they  were  not  representative  in  any 
way  of  the  finer  and  better  stand- 
ards of  the  screen  industry. 

Judge  ye  not  therefore  upon  the 
quantity  of  divorces  in  Hollywood 
— it  is  the  quality  that  counts. 

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A FLIRTATION,  a  fatal  kiss,  and  a  man  happily 
married  for  years  turns  to  youth  for  happiness 
when  his  wife  fails  to  respond  to  his  love.  Comes  a 
crashing  climax  and  an  awakening  flame  in  the  hearts 
of  the  married  couple  and  finally  rejuvenation  and 
happiness  breaking  through  the  threatening  cloud  of 

tragedy.  . 

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Evans  Photo 


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Los  Angeles 


hat  chance  has  a  beginner  in 
the  movies?  That  the  ranks  of  the 
actor  of  the  silver  sheet  is  pretty 
well  crowded  has  heen  known,  but 
a  classification  of  the  numbers  has 
not  been  given  publication  until 
recently.  There  are  in  the  United 
States  about  1,200  well-known, 
listed  motion-picture  actors;  700 
actresses;  and  fifty  child  players; 
to  say  nothing  of  the  thousands  of 
extras  and  lesser-known  actors. 
Then  there  are  325  well-known, 
listed  directors  and  producing  exec- 
utives ;  and  260  scenario  writers  and 
editors.  There  are  sixty  motion- 
picture  studios  on  the  West  Coast, 
and  forty-seven  in  the  East. 


I 


s  President  Harding's  slogan 
"Back  to  Normalcy"  affecting  the 
screen  ? 

From  Hollywood  goes»  word  that 
the  year's  big  screen  productions 
will  be  human  stories,  reflections 
of  life,  and  the  Universal  Film 
Company  offers  as  an  example  of 
this  tendency  its  dramatization  of 
Booth  Tarkington's  vivid  story  of 
the  "Folks  Next  Door,"  "The 
Flirt." 

Its  popularity  is  considered  by  its 
producers  as  an  indication  of  the 
public  taste  in  pictures  and  we  are 
encouraged  to  expect  many  more 
of  this  type  of  photo  stories. 

TIhe  courts  have  recently  ruled 
that  -a  star  is  an  employee  of  any 
company  he  works  for  and  that  the 
Film  Company  may  do  as  they 
please  with  their  pictures.  The  em- 
ployer can  cut  scenes  or  add  scenes 
or  revamp  the  film  in  any  way  he 
desires  and  the  offended  star  has 
nothing  to  say.  The  re-issue  of  old 
pictures  by  companies  after  a  star 
has  reached  the  pinnacle  of  fame 
has  always  been  a  source  of  annoy- 
ance to  the  stars.  Douglas  Fairbanks 
discovered  this  when  he  was  denied 
a  temporary  injunction  restraining 
Triangle  and  other  companies  from 
revamping  his  old  pictures,  includ- 
ing "The  Lamb"  and  "Double 
Trouble."  Fairbanks  has  no  prop- 
erty rights  to  these  pictures. 


Miracle  Man"  will  he  glad  to  learn 
of  his  rise  to  fame.  The  first  pic- 
ture in  which  he  will  be  starred  is 
"Robin  Hood,  Jr." 

IEBert  Lytell  will  play  Rudolph 

Rassendyll  in  the  Selzniok  produc- 
tion of  "Rupert  of  Hentzau."  This 
is  the  same  character  that  Lewis 
Stone  portrayed  in  "The  Prisoner 
of  Zenda."  Bryant  "Washburn  will 
be  a  member  of  the  same  cast  in- 
stead of  Antonio  Moreno,  who  was 
formerly  announced.  Moreno  re- 
signed when  he  learned  he  would 
be  requested  to  play  a  heavy. 

TThe  fans  who  see  "The  Stran- 
ger's Banquet"  which  is  being  pre- 
pared for  Goldwyn  under  the  di- 
rection of  Marshall  Neilan  will  rec- 
ognize several  well  known  screen 
people  in  the  cast  which  includes 
Claire  Windsor,  Eleanor  Boardman, 
Hayford  Hobbs,  Phil  McCullough 
and  Hobart  Bosworth.  The  scenes 
in  this  show  are  said  to  be  marvels 
of  beauty. 


uperfluoufHAIR^G 


Forever  removed  by  the  Mahler 
Method  which  kills  the  hair  root 
without  pain  or  injuries  to  the 
skin  hi  the  privacy  of  your  own 
home.  We  teach  Beauty  Culture. 
Send  today  3  stamps  for  Free  Booklet. 

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Containing  complete 
story  of  the  origin 
and  history  of  that 
wonderful  instra- 
meat— the 


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$10  for  the  best  answer  to 


rankie  Lee  is  another  child  who 
is  to  star  in  a  forthcoming  photo- 
story  and  fans  who  admired  his 
splendid  work  as  the  little  lame  boy 
with  Thomas  Meighan,  in  "The 

"Which  Advertisement  in  This  Issue  of  Screenland  Appeals  to  You  Most— and  Why? 


This  book  tells  you  when  to  use 
Saxophone— singly,  in  quartettes, 
in  sextettes,  or  in  regular  band;  how 
to  play  from  cello  parts  in  orchestra' 
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>  -  - 


Is^fbur  English 
a  Handicap  ? 

TliisTestWillTellYou 

Thousands  of  people  make  little  mis- 
takes in  their  everyday  English  and  don't 
know  it.  As  a  result  of  countless  tests, 
Sherwin  Cody  found  that  the  average  per- 
son is  only  61%  efficient 
in  the  vital  points  of 
English.  In  a  five- 
minute  conversation,  or 
in  an  average  one-page 
letter,  five  to  fifty  er- 
rors will  appear.  Make 
the  test  shown  below, 
now.  See  where  you 
stand  on  these  30  sim- 
ple questions. 


Sherwin  Cody 


MAKE  THIS  TEST  NOW 

Correct  answers  shown  in  panel  below 


1. 

Between  you  and  I 
I  HOPE  it  would  come 
WHO  shall  I  call 
It'3  just  AS  I  said 
How  MANY  are  there 
I  WOULD  like  to  go 
The  FIRST  TWO  lessons 

He  sat  AMONG  the  three 

The  wind  blows  COLD 

You  will  FIND  ONLY  one 

2 

evening 
ascertain 
hospitable 
abdomen 
mayoralty 
amenable 
acclimate 
profound 
beneficiary 
culinary 


or 


calendAr 

recEIve  or 

EeprEIve  or 

donkEYS  or 

factorlES  or 


Would  you  write — 

or  Between  you  and  ME 
or  I  WISH  it  would  come 
or  WHOM  shall  I  call 
or  It's  just  LIKE  I  said 
or  How  MUCH  are  there 
or  I  SHOULD  like  to  go 
or  The  TWO  FIRST  les- 
sons 

or  He  sat  BETWEEN  the 
three 

or  The  wind  blows 

COLDLY 
or  You  will  ONLY  FIND 
one 

How  do  you  say — 

EV-en-ing  or  EVE-ning 

AS-cer-tain  or  as-CER-tain 

HOS-pi-ta-ble      or  hos-PIT-able 
AB-do-men  or  ab-DO-men 

MAY-or-al-ty       or  may-OR-al-ty 
A-ME-na-ble       or  a-MEN-able 
AC-cli-mate         or  ac-CLI-mate 
TRO-found  or  pro-FOUND 

beri-e-fl-shEE-aryor  ben-e-FISH-ary 
CUL-i-na-ry        or  CU-li-na'-ry 

3  .     Do  you  spell  it 

calendEr    repEtition  or  repltition 

recIEve     sepArate     or  sepErate 

reprlEve    aCoModate  or  aCCoMModate 

donklES    trafflCing    or  trafflCKing 

factorYS    aCSeSible   or  aCCeSSible 


New  Invention  Improves  Your 
English   In  15  Minutes  a  day 

Mr.  Cody  has  specialized  in  English  for  the  past  twenty 
years.    His   wonderful   self-correcting   device  is  simple, 
fascinating,  time-saving,  and  Incomparably  efficient.  You 
oan  write  the  answer  to  50  questions  in  15  minutes,  and 
correct  your  work  in  5  minutes  more.    You  waste  no  time 
in    going    over   the  things 
you    already    know.  Your 
efforts  are  automatically  con- 
centrated   on   the  mistakes 
you    are    in    the    habit  of 
making,    and   through  con- 
stantly   being1    shown  the 
right  way,  you  soon  acquire 
the  correct  habit  in  place 
ofthe  incorrect  habit.  Thereis 
no  tedious  copying.    There  is 
no  heart-breaking  drudgery. 


Dope 

(Continued  from  page  63) 

many  as  in  other  walks  of  life,  ac- 
cording to  Dr.  Garleton  Shnon, 
chief  foe  of  the  drug  traffic  in  this 
country.  But  a  few.  Their  wealth 
and  generosity  make  them  a  favor- 
ite prey  of  unscrupulous  drug  ped- 
dlers who  would  damn  a  soul  to 
hell  and  back  again  for  the  sake  of 
a  few  dollars. 

Is  Will  Hays  to  be  the  Miracle 
Man  to  stamp  out  this  traffic  in 
human  hearts?" 

"I'd  crush  it  as  I  would  a  viper!" 
cried  Hays,  when  informed  of 
Reid's  perilous  condition  and  asked 
if  he  would  take  steps  to  counteract 
the  drug  traffic  in  filmdom. 


A 


good  man  and  a  true  one  at- 
tempted to  be  a  Miracle  Man,  once 
not  long  ago.  His  name  was  Wil- 
liam Desmond  Taylor  and  he  paid 
for  his  philanthropy  with  his  life. 
An  assassin  shot  him  down  in  cold 
blood  /because  he  tried  to  save  one. 
of  screenland's  loveliest  daughters 
from  the  soul-searing  habit  of 
drugs.  What  is  a  human  life,  when 
a  profitable  traffic  is  endangered? 


FREE 

Book  on  English 

Every  time  you  talk,  every 
time  you  write,  you  show 
what  you  are.  Your  Eng- 
lish reveals  you  as  nothing 
else  can.  When  you  use  the 
wrong  word,  when  you  mis- 
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misspell  a  word,  when  you 
punctuate  incorrectly,  when 
you  use  flat,  ordinary  words, 
you  handicap  yourself.  Write 
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Answer* 
1 

Between  you  and  me 
I  wish  it  would  come 
Whom  shall  I  call 
It's  just  as  I  said 
How  many  are  there 
I  should  like  to  go 
The  first  two  lessons 
He    sat    among  the 
three 

The  wind  blows  cold 
You   will    find  only 
one 

2 

EVE-ning 
AS-cer-tain 
HOS-pi-ta-ble 
ab-DO-men 
MAY-or-al-ty": 
a-ME-na-ble 
ac-CLI-mate 
pro-FOUND 
ben-e-FISH-ary 
CU-li-na-ry 

3 

calendar 

receive 
reprieve 
donkeys 
factories 
repetition 
separate 
accommodate 
trafficking 
accessible 


SHERWIN  CODY 
693  Searle  Building 


Sherwin  Cody  School  of  English 
693  Searle  Building,  Rochester,  N. 

Please  send  me  at  once  your  Free  Book 
and  Write  Masterly  English." 


Name  . 
Address 
City 


velyn  Nesbit  Thaw,  famous 
dancer  and  wife  of  Harry  K.  Thaw, 
knows  the  agony  that  comes  to  the 
users  of  narcotics. 

"I  can  realize  how  Wallace  Reid 
has  suffered,  going  through  the 
dope  hell,"  she  said.  "It  was  in  film 
circles  that  I  first  fell.  It  cost  me 
$100,000  in  cash  alone  to  be  a 
drug  fiend.  It  cost  me  my  friends 
and  my  self-respect.  It  nearly  cost 
me  my  son.  My  mother  threatened 
to  take  my  boy  away  from  me,  if 
I  did  not  quit. 

"I  couldn't  stand  for  that.  So  I 
stopped.  I've  not  touched  the  stuff 
for  eight  months,  and  I  never  will 
again.  But,  God,  I  suffered!" 

But  the  peddlers,  who'incite  and 
feed  the  need  for  their  hideous 
panaceas,  do  not  suffer.  They  ride 
in  luxurious  limousines.  Their 
wives  blaze  with  diamonds.  They 
were  bought  with  the  youth  and 
clean  hearts  of  boys  like  Wally 
Reid,  the  Wally  Reid  we  knew  three 

state   1 3Tears  af °- 

Send  your  letter  to  Advertising  Manager,  Screenland  Magazine, 


SCHOOL    OF  ENGLISH 
Rochester,  New  York 


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Hollywood,  Calif. 


97 


Photo  bg 
Stagg 


Miss 

Pauline  Starke 

In  our 
Chinese  Department 


Chinese  Lounging 
Suits 

Chinese  Banker 
Coats 

Chinese  Robes,  etc. 


Retrie  s  inc. 

1  DRIVER '  BETTINGEN 

LOS  ANGELES,  CALIF. 


Bumping  the  Bumps 
to  Stardom 

(Continued  from  page  SI) 
nose  down  to  Greek-goddess  propor- 
tions.   But  by  a  freak  of  chance, 
Gloria's   nose  was   acclaimed  her 
most  fascinating  feature,  next  to 
ler  strange  eyes,  and  the  surgeon 
was  put  to  work  on  Rodolph  Valen- 
tino's ears  instead.    Did  you  ever 
ee  a  picture  of  Rudy  before  his 
ears  were  remodeled?    No,  don't 
ook  for  it!    Look  at  him  now  and 
De  happy! 

TThb  interpretation  of  the  Chi- 
nese character  has  long  been  a  fav- 
orite theme  for  screen  plays,  but  it 
is  seen  in  an  entirely  new  light  in 
'Shadows."  The  picture  is  based 
on  Wilbur  Daniel  Steele's  prize 
story,  "Ching,  Ching,  Chinaman," 
which  was  acclaimed  as  one  of  the 
greatest  stories  of  1917.  It  tells  of 
Yen  Sin,  a  Chinaman,  who  drifts 
out  of  a  storm  at  sea  to  Urkey,  a 


little 


fishing- 


village  on  the  New 


England  coast.  The  narrow  minded 
townfolks  despise  and  revile  him 
because  he  does  not  hold  the  same 
religious  convictions  as  they.  How 
he  barters  his  own  soul  to  save  those 
of  his  Christian  associates  forms  the 
keynote  of  a  drama  that  will  astound 
and  grip  even  the  most  blase  pic- 
ture patron.  The  usual  portrayal 
of  Chinese  characters  in  pictures  is 
that  of  a  wily,  vindictive  type,  but 
Chaney,  in  "Shadows,"  is  kindly, 
benign  and  helpful. 

It's  all  star  cast,  which  Tom  For- 
man  directed,  includes  Lon  Chaney, 
Marguerite  De  La  Motte,  Harrison 
Ford,  Walter  Long  and  John  Sain- 
polis. 


To 


om  Meighan  has  the  greatest 
role  of  his  acting  life  in  Cecil  B.  De 
Mille's  superspecial,  "Manslaugh- 
ter." By  far  the  biggest  and  most 
dramatic  thing  De  Mille  ever  did, 
the  picture  affords  Mr.  Meighan 
superb  opportunity  for  a  star  per- 
formance, since  it  casts  him  as  a 
young  district  attorney  who  sees 
that  the  only  way  he  can  cure  his 
speed-mad,  jazz-mad  society-crazed 
sweetheart  is  to  convict  her  for  the 
careless  crime  she  has  committed  in 
causing  the  death  of  a  motorcycle 
policeman  who  was  pursuing  her. 

With  Leatrice  Joy  in  the  mad 
cap,  silken  and  patrician  role  of  his 
sweetheart,  Lois  Wilson  as  her  maid, 
and  with  a  tremendous  cast  from 
Paramount's  stock  company  in  sup 
port,  "Manslaughter"  proves  itself 
one  of  the  most  talked  of  features 
on  the  screen. 


She  Found  A  Pleasant  Way  To 
Reduce  Her  Fat 

She  did  not  have  to  go  to  the 
trouble  of  diet  or  exercise.  She 
found  a  better  way,  which  aids 
the  digestive  organs  to  turn  food 
into  muscle,  bone  and  sinew  in- 
stead of  fat.  ,  . 

She  used  Marmola  Prescription 
Tablets,  which  are  made  from  the 
famous  Marmola  prescription. 
They  aid  the  digestive  system  to 
obtain  the  full  nutriment  of  food. 
They  will  allow  you  to  eat  many 
kinds  of  food  without  the  neces- 
sity of  dieting  or  exercising. 

Thousands  have  found  that  Marmola 
Prescription  Tablets  g?ive  complete 
relief  from  obesity.  And  when  the  ac- 
cumulation of  fat  is  checked,  reduc- 
tion to  normal,  healthy  weight  soon 
follows. 

All  good  drug  stores  the  world  over 
sell  Marmola  Prescription  Tablets  at 
one  dollar  a  box.  Ask  your  druggist  for 
them,  or  order  direct  and  they  will  be 
sent  in  plain  wrapper,  postpaid. 

MARMOLA  COMPANY 
414  Garfield  Bldg.  Detroit,  Mich. 


Famous  Stars 
of  the  Screen 

know  the  importance  of  well 
groomed  nails — particularly  in 
closeups. 

They  use 

EMPRESS  NAIL  GLOSS 

A  single  stroke  of  the  brush — no  buff- 
ing— produces  instantly  a  delicate  flesh 
tint  luster  lasting  two  weeks. 

At  your  druggist,  department 
store  or  direct  by  mail. 

50  c 

Empress  Nail  Gloss,  package  contains 
the  celebrated  twin  bottles  —  one  of 
liquid  gloss,  the  other  liquid  remover  — 
permitting  no  waste — guaranteed  to 
last  from  six  to  eight  months. 

Send  10  cents  for  liberal  samples 


mpressMffcCakc 

EST  I89f 

820  Eighth  Ave. 

DEPT.  12     NEW  YORK 


98 


$10  for  the  best  answer  to  "Which  Advertisement  in  This  Issue  of  Screenland  Appeals  to  You  Most— and  Why?" 


(Continued  from  page  28  ) 
are  musically  inclined,  it  is  recom- 
mended that  they  learn  the  lyrics  to 
0  Promise  Me,  for  the  Producers 
will  sing  it  to  you,  and  you,  in  turn, 
can  sing  it  to  the  milkman. 

If  the  spirit  moves  you,  remem- 
ber, it  is  $10  per  quart  and  go  easy. 

If  your  landlady  will  not  take 
"No"  for  an  answer  or  anything 
else  in  place  of  cash,  move  out  into 
the  best  circles. 

In  wiring  home  for  money  it  is 
always  nice  to  sign  "Your  Loving 
Son." 

Should  you  feel  that  ideas  aren't 
coming  fast  enough,  go  and  see 
Foolish  Wives.  Then  you'll  know 
there  are  others. 

Don't  let  any  mere  producer  dis- 
courage you.  You  may  be  good, 
after  all.  So  refuse  to  be  dismayed, 
and  after  you  have  picked  yourself 
up,  dusted  yourself  off  and  found 
your  hat,  return  to  the  indelicate 
producer  with  some  mollifying 
words  like  these: 

"And  now,  my  dear  sir,  since  we 
have  ceased  joking,  won't  you  let 
me  show  you  my  latest  eighteen-reel 
sequel  to  Adam's  Rib,  entitled  Eve's 
Ribbon  f"  

After  Forty  .  .  .  What? 

After  a  star  has  become  fair,  fat 
and  forty,  what  is  the  next  step  in 
her  career?  Is  she  content  to  pass  on 
her  starring  roles  to  a  younger  and 
more  beautiful  candidate,  while  she 
contents  herself  with  grande  dame 
roles?   Or  will  she  gracefully  slip 
out  of  the  limelight  when  her  star- 
ring days  are  over,  like  the  delight- 
ful little  Marguerite  Clark?  Will 
Mary  Pickf ord  realize  the  psycholog- 
ical moment,  at  the  peak  of  her 
career,  when  retirement  will  leave 
only  a  beautiful  memory  in  the 
hearts  of  her  adorers?  In  Screen- 
land  for  April,  W.  Ellen  Reamy 
will  tell  you  the  fate  of  the  aging 
stars. 

That  Wonderful  Lover 

whose  ardent  courtships  on  the  silver 
sheet  thrill  you  beyond  words  .  ... 
would  he  be  equally  as  satisfying  in 
the  more  prosaic  role  of  the  hus- 
band in  real  life? 

Jean  Acker  gives  a  frank  story  of 
her  romance  with  Rodolph  Valen- 
tino, recording  her  honest  impres- 
sions of  the  desirability  of  being  the 
wife  of  a  great  film  lover.  Don't  miss 
this  baring  of  a  wife's  soul 
in  SCREENLAND  for  APRIL, 
Out  March  first. 


is  the  making 
reach  of  every 
you  wherever  you  go 
take  you  where  you 
musically. 


nd  making  it  is  within  the 
Your  Gibson  will  go  with 
—indoors  or  out;  it  will 
want  to  go— socially  or 


on 

Instruments 

Commanding  in  tone  and  volume  by  the 
attraction   of   superior   worth:  Marvel- 
ously   beautiful  in  design  and.  nnisn—a 
delight  to  the  eye,  an  inspiration  to  the 
'ear    Is  it  any  wonder  Gibsons  are  chosen  as 
music  companions  by  the  most  discriminating 
and  have  become  known  as  "The  Music  Pals 
of  the  Nation?"  : 

$5.00  a  month  buys  a  Gibson 
T.earn  at  home  in  spare  hours — no  drudgery  of 
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April  Issue 
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Sale 
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April  Issue 
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March  1st 

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Screenland 

will  contain 

108  pages— profusely 
illustrated 

40  stories— 200  pictures 

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99 


Prices 
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on 

Professional 

PICTURES 

25  5  x  7  photos,  $5.00 

Three  positions  to  choose 
from 

25  8  x  10  photos,  $10.00 

Four  positions  to  choose 
from 

100  8  x  10  photos,  $28.50 

Five  positions  finished 

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—ICHARD  BARTHELMESS  IS  0  II  ej 

movie  star  who  does  not  fear  the' 
presence  of  other  stars  in  his  sup- 
porting casts.  The  famous  youth, 
one  of  the  leading  male  stars  in 
popularity  on  the  silver  sheet,  main- 
tains that  he  acts  better  and  throws 
himself  more  into  his  dramatic 
work  when  the  subsidiary  parts 
around  his  hero  role  are  played  by 
noted  and  fine  players. 

In  "Fury,"  he  has  Dorothy  Gish 
for  heroine,  Tyrone  Power  for 
"heavy,"  Barry  Macollum  straight 
from  London  to  do  the  poetic-eccen- 
tric part  of  the  sea  cook,  Pat  Harti- 
gan  for  villain,  and  others  of  note. 

In  "Fury,"  Barthelmess  gives  the 
top  performance  of  his  career,  which 
has  been  meteoric  since  D.  W.  Grif- 
fith cast  him  into  the  limelight  as 
the  "Chink"  in  "Broken  Blossoms." 
As  the  youthful  sailor  whose  love 
for  the  whimsical,  beautiful  little 
"slavey"  of  Limehouse  (Dorothy 
Gish)  is  postponed  by  the  mad  in- 
sistence of  his  father  (Tyrone 
Power)  that  his  mother's  seducer  be 
hunted  out  and  killed,  critics  insist 
that  his  fighting,  spiritually-in- 
clined role  is  a  greater  one  than 
Barthelmess  displayed  in  "Tol'able 
David," 


^,larence,"  a  William  de  Mille 
production  featuring  Wallace  Reid, 
Agnes  Ayres  and  May  McAvoy,  is 
the  picturization  of  Booth  Tarking- 
ton's  story  of  the  same  name.  Clar- 
ence Smith  is  a  coleopterist  and  the 
only  man  in  the  world  who  ever 
drove  army  mules  without  swearing 
at  them.  He  comes  quietly  into  the 
Wheeler  household,  where  there  is 
much  bickering,  and  soon  becomes 
the  confidant  of  all  in  the  house. 
How  he  brings  peace  and  happiness 
into  the  family  makes  a  good  story. 
The  three  de  luxe  houses  will  offer 
specialties  in  the  presentation  of  the 
feature  and  will  augment  their  pro- 
grams with  a  number  of  short  sub- 
jects and  musical  novelties. 


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PROFESSIONAL  PICTURES 

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 he  photoplay,  "Night  Life  in 

Hollywood"  is  being  offered  in  de- 
fense of  the  most  colorful  commu- 
nity in  the  world,  analyzing  the  life 
of  Hollywood  in  its  effort  to  refute 
the  unfavorable  publicity  given  to 
the  movie  colony. 

When  a  picture  boasts  in  its  cast 
such  players  as  Wallace  Reid,  Wil- 
liam Desmond,  Theodore  Roberts, 
Sessue  Hayakawa,  Tsuru  Aoki, 
Brvant  AVashburn,  J.  Warren  Ker- 
rigan and  J.  Frank  Glendon,  it  is  of 
great  interest  to  the  movie  fans. 

$10  for  the  best  answer  to  "Which  Advertisement  in  This  Issue  of  Screenland  Appeals  to  You  Most-and  Why? 


2\rtistic  Photographs 

Special  rates  to  the  profession 

Co^q  Hollywood  Boulevard 


Doug  Revealed  as  Great 
Lover  of  Screen 


-4 


turn 


L/NID  BENNETT  w  ho  re- 
to  the  screen  with  Douglas 


Fairbanks  in  "Robin  Hood,"  claims 
that  Doug  is  a  real  thrill  as  a  screen 
lover  and  is  quoted  as  saying  of  his 
work  in  his  latest  production: 

"King  of  jesters,  athletes,  fighters 
—a  laughing  gladiator,  humorous, 
quick  wit  ted,  too  intelligent  to  be 
romantic  or  sighing  —  that  was 
Douglas  Fairbanks  as  I  knew  him 
before  he  started  work  on  'Robin 
Hood.'  It  is  the  Douglas  Fair- 
banks that  you  have  known,  too, 
and  always  will  know  until  you  see 
the  superbly  beautiful  and  dramatic 
Robin  Hood. 

"But  what  a  different  Doug  ther 
is  in  that  production ! 

"And  how  that  man  can  make 
love! 

"Nobody  dreamed  it  of  him — ex- 
cept of  course  Mary  Pickford,  who 
knew  it  all  along.  All  through  the 
action  of  that  tremendous  picture, 
Doug  played  the  love  scenes  with  a 
fire  and  burning,  reckless  romance 
that  would  have  shamed  a  John 
Barrymore  on  the  stage  or  a  Valen- 
tino on  the  screen.  He  showed  that 
he  could  turn  from  his  jumping, 
thrilling,  startling  athletic  stunts  on 
the  walls,  the  moats,  defying  hun- 
dreds of  baffled  enemies,  to  be  the 
essence  of  high  romance  when  he 
stopped  in  an  ivy  nook  to  kiss  his 
lady-love,  The  Lady  Marian. 

"I  know.    I  was  Lady  Marian. 
Mr.   Fairbanks  showed  a  serious 
depth  and  a  high  charm  that  was 
remarkable  in  a  man  who  has  kept 
his  glee,  his  good  nature,  his  care- 
less ease  always  to  the  front  in  pic- 
tures.   His  tenderness  and  feeling 
for  the  poetic  moments,  for  the 
beauty  in  love  scenes,  was  worthy 
of  a  D'Annunzio.    We  worked  for 
weeks  on  the  love  scenes.    He  in- 
sisted that  they  must  be  perfect  and 
we  took  them  over  and  over  until 
he  was  satisfied  we  could  get  no  more 
romance  into  them.   After  the  pub- 
lic sees  his  new  work  it  will  demand 
more  of  Fairbanks'  love-making,  L 
am  sure." 


In  the  April  issue  of  Screen- 
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MONTH 


from  moESWOxo® 


THREE  great  stories  are  in  store  for  the  readers  of 
the  April  issue.  „  ,      . . ,  , 

Mae  Buseh  shows  the  other  side  of  the  picture  when 
she  writes  about  "Wild  Interviewers  I  Have  Met 

Mrs.  Fiske  will  give  you  the  low  down  on  Molly- 
wood  Speeders." 

Clara  Kimball  Young  and  her  Ex-Husband  James 
Young  will  stage  a  debate  in  this  magazine  on  What 
Is  the  Ideal  Age  for  a  Husband?— What  Is  the  Ideal 
Age  for  a  Wife?" 


Send  your  letter  to 


Advertising  Manager,  Screenland  Magazine,  Hollywood.  Calif. 


IOI 


EVERY  MARRIED  COUPLE 


|  THE 
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102 


da  haw  ley  is  back  where 
she  started  in  the  movies,  at  least 
she  has  returned  to  the  Fox  people 
and  that  is  the  company  who  started 
her  on  her  screen  career.  She  was 
recently  with  the  Paramount  but 
her  contract  was  not  renewed  at  its 
expiration.  She  originally  left  Fox's 
to  go  with  Cecil  De  Mille  and 
then  went  with  the  Realart  people 
until  they  disbanded. 


E 


rank  bacon,  the  beloved  actor 
who  recently  died  in  Chicago  after 
several  years  spent  in  his  very  fa- 
mous play,  "Lightnin,"  left  a  host 
of  friends  who.  regret  that  his 
work  was  never  perpetuated  on  the 
screen.  D.  W.  Griffith  was  very 
imueh  interested  in  Bacon  two  years 
ago  and  did  his  best  to  secure  the 
play  and  the  star  for  films,  but  his 
efforts  were  unsuccessful.  While 
Bacon  was  known  to  have  made  a 
fortune  in  this  show  it  is  said  he 
left  an  estate  which  consisted  of 
only  a  piece  of  Los  Angeles  real 
estate  which  was  valued  at  $250. 


ank  mayo  has  signed  a  contract 
with  Goldwyn  and  will  play  in  their 
coming  production  "Souls  for  Sale," 
a  movie  story  by  Rupert  Hughes. 
iMayo's  contract  had  just  expired 
with  the  Universal. 


P 


ASSIGNS  OF  THE  SEA,"  is  the 

name  given  the  photostory  of  Cap- 
tain Blackbird  in  which  the  Gold- 
wyn people  are  starring  Pauline 
Starke  and  Carl  Harbaugh.  The 
company  was  sent  to  the  South  Sea 
Islands  to  make  some  of  the  pictures 
and  it  is  claimed  they  have  brought 
back  some  wonderful  scenes. 


I 


n  America  there  are  over  four 
thousand  churches  who  use  motion 
picture  machines.  That  does  not 
look  like  a  bad  field  to  enter  for 
some  of  the  almost  five  hundred  pic- 
ture producing  companies  in  the 
same  territory.  Besides  the  churches, 
the  other  church  organizations  and 
the  Y.  M.  C.  A.,  add  nearly  another 
thousand. 

(0^NE  more  picture  will  be  made 
in  California  by  Corinne  Griffith 
who  has  left  Vitagraph  and  then 
she  will  work  in  the  East  under  the 
direction  of  Walter  Campbell,  her 
husband. 


EVAN  BURROWS  FONTAINE 

(The  celebrated  Russian  dancer)  endorses: 

Ever-Off 
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"EVER-OFF  Company,  Los  Angeles 

Dear  Gentlemen:  Enclosed  $4.00  for  an- 
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SONG  WRITERS! 

Music  composed  to  your  song  poems  by  expert 
composers.  Criticism  of  song  poem  25c.  Revi- 
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GET  A  CLOSE  UP  VIEW 

Of  yourself  through  Human  Analysis.  Vital 
Success  Pointers  and  Your  Personality  Sketched 
for  10c.  Give  Birthdate.  Thomson-Heywood, 
Dept.  X,  Chronicle  Bldg.,  San  Francisco,  Cal. 


$10  for  the  best  answer  to  "Which  Advertisement  in  This  Issue  of  Screenland  Appeals  to  You  Most-and  Why?' 


"YOU'LL  NEVER  SUCCEED 

with  a  WRINKLED  FACE" 


The  original 


M.  ELLA  HARRIS 

can  do  this  for  you 

The  famous  beauty  specialist  now  located  in  Hollywood  will  remove  twenty  years  from  your  life. 
(Read  this  letter)  1531  N.  Bronson  Ave.,  Hollywood,  California.    February,  1922. 


Dear  Madame : 

I  am  answering  your  letter  to  Mrs.  Harris  and 
am  pleased  to  tell  you  about  her  most  wonderful 
treatment. 

I  had  her  treatment  seventeen  years  ago  in  San 
Francisco.  I  was  on  the  speaking  stage  at  that 
time  and  I  assure  you  this  treatment  restored  my 
youthful  appearance  and  for  twelve  years  I  played 
young  society  parts  that  I  could  not  have  played 
had  I  not  been  treated  by  Mrs.  Harris. 

I  have  seen  at  least  two  hundred  people  that 
Mrs.  Harris  has  treated,  in  fact,  ten  years  ago,  I 
got  up  a  club  of  fifty  women  (actresses  in  New 
and  Mrs.  Harris  came  there  especially  to 
treat  them. 

Her  wonderful  work  made  such  an  impression 
that  she  was  completely  snowed  under  and 
couldn't  get  away  for  two  years ;  finally  she  was 
called  by  wire  to  the  death  bed  of  a  member  of 
her  family  and  now,  one  by  one,  these  ladies  fol- 
lowed her  and  now  are  being  treated  in  California. 

In  all  my  travels  abroad  and  in  America,  for 
twenty-five  years  I  have  seen  nothing  to  compare 
with  her  work.    In  Paris,  London,  New  York, 


Chicago  and  San  Francisco  I  have  seen  nothing 
that  can  be  mentioned  in  the  same  breath  and 
cannot  give  her  too  much  praise. 

I  sincerely  believe  she  is  the  most  wonderful 
facial  artist  in  the  world  today :  the  only  one  who 
can  take  an  old,  withered,  wrinkled  eye  and  re- 
store it  to  a  child's  contour,  leaving  no  trace  or 
a  line  or  wrinkle,  saying  nothing  of  the  saggy 
cheeks  and  scrawny  necks. 

She  uses  no  filling,  nor  does  she  do  any  cut- 
ting:  it's  simply  a  treatment  combined  with 
nature.  I  really  think  that  Mrs.  Harris  should 
be  as  widely  known  from  this  art  as  Edison  or 
Burbank  and  were  she  a  man,  she  would  be. 

To  prove  my  honest  belief  and  knowledge  of 
this  art  I  am  giving  up  both  the  stage  and  motion 
picture  work  to  give  my  time  in  full  to  this  treat- 
ment :  to  help  Mrs.  Harris  demonstrate  to  the 
public  that  this  is  the  only  facial  art,  restoring 
youth  which  remains  always,  stands  all  kinds  of 
wear  and  tear,  illness,  grief  or  anything. 

Very  respectfully  yours, 

IRENE  HOBSON. 


M.  ELLA  HARRIS 

Also  manufactures  a  home  treatment  combination  consisting  of  "Marvel  Skin  Tightener,"  ''Special  Double  Astringent''  and 
"Bleach  Cream"  which  separately  sells  for  37.00  but  which  will  be  mailed  upon  receipt  of  3S.00,  with  full  directions  complete. 

"They  Whiten  and  Tighten  the  Skin" 

Send  35.00  for  this  home  treatment 


M.  ELLA  HARRIS 

1531  NORTH  BRONSON  AVE. 
HOLLYWOOD,  CAL.  PHONE  HOLLY  2170 


M.  ELLA  HARRIS, 

1531  N.  Bronson  Ave.,  Dept.  S, 

Hollywood,  California.  ....  j 

Enclosed  please  find  $5.00  for  which  please  send 
me  your  special  home  treatment. 

Name  '•■  

Address   ■  '  

City   State  


Send  your  letter  to  Advp^' '-«'  Manager,  Screenland  Magazine,  Hollywood.  *>lif. 


103 


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Violets  and  Valentino 

(Continued  from  page  17.) 
room !     And    not   even    a  chaise 
lounge — nothing  but  an  old  Morris 
chair." 

"What  part  do  you  yearn  to 
play?"  I  asked,  wiping  away  a  sym- 
pathetic tear. 

Rudy  only  laughed  his  low,  re- 
fined Milwaukee  gurgle. 

"I  want,"  said  Rudy,  "to  play 
Romeo  before  I  die." 

"That,"  I  said,  "is  a  good  idea— 
to  play  it  before  you  die !" 

The  last  candle  on  the  altar  sput- 
tered and  went  out.. 

The  little  goldfish  lined  up  in  a 
row  and  looked  at  Rudy  brightly. 
Rudy  reached  into  the  bowl  and 
patted  one  on  the  head.  It  wrig- 
gled ecstatically. 

So  I  left  them  there  together. 

And  as  I  eased  out  of  the  room  I 
caught  a  glimpse  of  our  Rudy  try- 
ing in  vain  to  scratch  a  match  on 
the  seat  of  his  velvet  breeches.  .  .  . 


Romance  in  the  Movies 

( Continued  from  page  71 ) 
left  the  great  mass  of  pictures-goers 
depressed,  disheartened.  They  had 
sorrow  in  their  own  lives.  They 
would  forget  it  if  they  could.  The 
Shiek  was  scored  by  the  critics,  but 
the  public  flocked  to  see  it.  Women 
saw  the  picture  two  and  three  times 
over  .  .  .  and  enjoyed  the  roman- 
tic episodes  as  much  the  last  time 
as  the  first.  It  satisfied  the  old  fairy- 
story  craving  that  every  girl  baby 
is  born  with  and  keeps  in  her  heart 
till  she  dies. 

The  proper  censor  is  not  the 
critic,  fed  on  Schnitzler  and  Freud ; 
nor  the  political  appointee  who 
looks  upon  censorship  as  a  means 
of  an  easy  living  without  work.  The 
censor  we  would  choose  is  the  wo- 
man in  the  next  block  who  goes  to 
the  movies  every  Saturday  night, 
and  takes  her  husband  and  daugh- 
ter along.  She  wouldn't  take  an 
unholy  joy  in  scoring  the  picture 
just  because  she  has  a  general  dis- 
like of  movies  and  enjoys  showing- 
it  at  least  once  a  week.  But  she 
certainly  wouldn't  let  anything 
really  objectionable  get  by,  for  she 
is  trying  to  be  a  good  mother  to 
that  little  flapper  daughter. 

And  she  would  keep  the  whole- 
some Youth  and  Beauty  and  Ro- 
mance' that  means  as  much  to  us 
today  as  "when  Sappho  sang,  and 
Helen  loved  too  well." 


SCREENLAND 

PRESENTS 

FREE 


A  Copy  of 

Elinor  Glyn's 

Great  Novel 

Beyond  the  Rocks 


to  every  reader  of  this  ad- 
vertisement who  subscribes  to 
SCREENLAND  before  March  1st, 
1923. 

This  fascinating  love  tale  is  illus- 
trated with  stills  from  the  Para- 
mount photoplay  of  the  same  name 
posed  by 


Rodolph  Valentino 

 and  

Gloria  Swanson 


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Circulation  Manager  SCREENLAND, 
Hollywood,  Calif. 

Please  send  me  FREE  one  copy  of  Elinor  Glyn's 
novel  BEYOND  THE  ROCKS  with  one  year's 
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enclose  $2.50. 

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